TIM HORN (3 Day Plein air workshop)
TIM HORN (3 Day Plein air Workshop)
May 23 - 25, 2018. Portsmouth, NH ($450)
Register: Call Todd Bonita (603) 819-9100
Email: tmbonita@gmail.com (Limit 14)
** FILLED ** Wait list only **
Join us in the quaint, New Hampshire harbor town of Portsmouth, New Hampshire for an immersive, outdoor painting excursion with artist, Tim Horn. His work is best known for the light in his paintings coupled with strong composition. The primary focus will be how to convey the sense of strong sunlight in a painting by identifying, clarifying and pushing the values. Exercises will be used to help simplify these concepts. Students will also work on achieving clean color in their paintings, and utilize value patterns to aid in developing successful compositions. There will be discussions on materials, scene selection and brushwork. During the workshop, Tim will create a demonstration painting each day, and work with students individually on their paintings throughout the day. www.timhornart.com
May 23 - 25, 2018. Portsmouth, NH ($450)
Register: Call Todd Bonita (603) 819-9100
Email: tmbonita@gmail.com (Limit 14)
** FILLED ** Wait list only **
Join us in the quaint, New Hampshire harbor town of Portsmouth, New Hampshire for an immersive, outdoor painting excursion with artist, Tim Horn. His work is best known for the light in his paintings coupled with strong composition. The primary focus will be how to convey the sense of strong sunlight in a painting by identifying, clarifying and pushing the values. Exercises will be used to help simplify these concepts. Students will also work on achieving clean color in their paintings, and utilize value patterns to aid in developing successful compositions. There will be discussions on materials, scene selection and brushwork. During the workshop, Tim will create a demonstration painting each day, and work with students individually on their paintings throughout the day. www.timhornart.com
SUPPLY LIST
Timothy Horn painting workshop materials list January 2018• Layers of clothing, including dark tops to avoid reflective glare onto your painting.
• Wide brim hat
• Sunscreen
• Small sketch book, (I LOVE the 5x8 1/4" Moleskine sketchbooks - widely available at Blick and other art and book stores. There are 2 versions with blank pages. I recommend the one with heavier paper -- it has a light purple label, with 104 pages. )
• Soft pencil like 4B or so. ( I like the Cretacolor, Monolith 4B, avail at Blick. It's basically a pencil shaped graphite stick with a sealed outer layer that keeps your fingers from getting covered in graphite)
• View finder (black card with cut out window approx. 3 1/4 x 4”) A 35mm slide mount is too small! I will have viewfinders available for purchase.
• 1 black Sharpie "fine point" (tip looks kind of like a crayon point)
• 7 canvas panels ranging in size from 8x10” to 11x14". Also bring 3 small 6x8" panels. If you prefer stretched canvas, that's fine -- it's just more difficult to travel with. Use whatever panels you're comfortable with. I like the panels from SourceTek. www.canvaspanels.com I get the "Academic Line" on 1/8" Baltic Birch, which has an acrylic primed polyflax, smooth weave surface. RayMar and New Traditions also make very nice panels. Several substrates and surfaces are available, and prices are fairly comparable between the 3 companies. The gatorcore is lighter weight than the birch, which can make a difference when you're lugging around 10 panels.
• Gamsol, for thinning your paint and cleaning brushes.
• Medium. I like to use medium when I paint, but not everybody does. When painting indoors I use Gamblin Solvent Free Gel or Walnut Alkyd Medium by M. Graham & Co. And of course, if you don't feel the need for medium, that's fine too. In addition to making your oils a nicer consistency, most mediums have a drying agent in them that speeds drying time -- very helpful when traveling.
• 1 small jar with water tight lid or one of the metal, brush washer cans. This is to put your Gamsol in.
• Rags or paper towels
• Bristle brushes, flats, 2 each of sizes 4, 5 and 6. (I use Utrecht No.202) These range in width from 3/8" to 5/8". Any decent quality hog's hair bristle brush will do fine. And if you prefer brights or filberts, that's fine. But please, leave your small brushes at home!
• outdoor easel with palette ( I recommend wood palette for it's neutral color) There are many types of outdoor easels, and any of them should be fine. I use a 9x12" Open Box M easel when I travel. I also like the wooden "French" easels which I often use nearer to home, but the Open Box M is lighter and less bulky.
• vinyl or latex gloves ( I prefer vinyl. I buy boxes of 100 from hardware stores like Home Depot) This protects your skin from absorbing cadmium, cobalt, etc.
• umbrella with clamp. I used to list this as optional, but now I consider it pretty important if you're going to be painting outdoors regularly. I have several different umbrellas, each for different occasions. The one I travel with is the "Best Brella". It's rather expensive at around $110, but it does work well, and has a really good (though bulky) clamp. http://www.bestbrella.com They just started offering an umbrella with a translucent, white/grey canopy instead of the silver and black. I prefer the grey. There are many different umbrellas available, some starting at about $40. The idea is to keep direct sun off your painting and off your palette if at all possible.
• wet panel carrier or some way to get your wet paintings home. Raymar makes an affordable corrugated plastic carrier in several sizes. http://www.raymarart.com click on "panel carriers".
Oil Paints:
alizarin crimson permanent
cadmium red light
cad. orange
cad. yellow medium (Utrecht is good)
cad. yellow light (Gamblin or Rembrandt are good)
sap green (not Utrecht)
cobalt blue
ultramarine blue
titanium white (I use Utrecht Studio Series or Grumbacher's “soft formula”, but any titanium is fine)
If you have your own palette of colors or use a “limited palette”, that’s fine. I also have in my box, but rarely use: black, grey, thalo blue and yellow ochre. It is important that you have a WARM yellow and a COOL yellow. Your cad. yellow medium should be a WARM yellow (like school bus color). If it looks too orangey, or too cool, try a different brand. Your cad yellow light should be a COOL yellow (color of a lemon). If it looks similar to the warm yellow, then try cad lemon.
cool warm
I use mostly Utrecht, Rembrandt or Gamblin oil paints.
Don’t worry about getting exactly the right brands or the perfect brushes, etc. Anything will work. I buy supplies at Blick, Jerry’s Artarama - (catalog and online www.jerrysartarama.com) and Utrecht. I get my brushes
from Utrecht.com usually No.202’s. Your brushes should be decent quality (not from a child's starter set) and in good condition (not old, stiff and worn out).
Miscellaneous:
Please, please try and get out and do some painting in the weeks before the workshop. Your class time will be much more effective! And be sure to set up your easel in advance, making sure everything works.
If you're fairly new to plein air painting, I highly recommend the book "Fill Your Oil Paintings with Light and Color" by Kevin MacPherson. It's about $24 available on Amazon and some book and art stores. Great book, very well written and illustrated, simple, clear and inspirational. Also very good is Mitchell Albala's book "Landscape Painting". Much more information, deeper, and more academic. http://www.mitchalbala.com/book/index.html
• Wide brim hat
• Sunscreen
• Small sketch book, (I LOVE the 5x8 1/4" Moleskine sketchbooks - widely available at Blick and other art and book stores. There are 2 versions with blank pages. I recommend the one with heavier paper -- it has a light purple label, with 104 pages. )
• Soft pencil like 4B or so. ( I like the Cretacolor, Monolith 4B, avail at Blick. It's basically a pencil shaped graphite stick with a sealed outer layer that keeps your fingers from getting covered in graphite)
• View finder (black card with cut out window approx. 3 1/4 x 4”) A 35mm slide mount is too small! I will have viewfinders available for purchase.
• 1 black Sharpie "fine point" (tip looks kind of like a crayon point)
• 7 canvas panels ranging in size from 8x10” to 11x14". Also bring 3 small 6x8" panels. If you prefer stretched canvas, that's fine -- it's just more difficult to travel with. Use whatever panels you're comfortable with. I like the panels from SourceTek. www.canvaspanels.com I get the "Academic Line" on 1/8" Baltic Birch, which has an acrylic primed polyflax, smooth weave surface. RayMar and New Traditions also make very nice panels. Several substrates and surfaces are available, and prices are fairly comparable between the 3 companies. The gatorcore is lighter weight than the birch, which can make a difference when you're lugging around 10 panels.
• Gamsol, for thinning your paint and cleaning brushes.
• Medium. I like to use medium when I paint, but not everybody does. When painting indoors I use Gamblin Solvent Free Gel or Walnut Alkyd Medium by M. Graham & Co. And of course, if you don't feel the need for medium, that's fine too. In addition to making your oils a nicer consistency, most mediums have a drying agent in them that speeds drying time -- very helpful when traveling.
• 1 small jar with water tight lid or one of the metal, brush washer cans. This is to put your Gamsol in.
• Rags or paper towels
• Bristle brushes, flats, 2 each of sizes 4, 5 and 6. (I use Utrecht No.202) These range in width from 3/8" to 5/8". Any decent quality hog's hair bristle brush will do fine. And if you prefer brights or filberts, that's fine. But please, leave your small brushes at home!
• outdoor easel with palette ( I recommend wood palette for it's neutral color) There are many types of outdoor easels, and any of them should be fine. I use a 9x12" Open Box M easel when I travel. I also like the wooden "French" easels which I often use nearer to home, but the Open Box M is lighter and less bulky.
• vinyl or latex gloves ( I prefer vinyl. I buy boxes of 100 from hardware stores like Home Depot) This protects your skin from absorbing cadmium, cobalt, etc.
• umbrella with clamp. I used to list this as optional, but now I consider it pretty important if you're going to be painting outdoors regularly. I have several different umbrellas, each for different occasions. The one I travel with is the "Best Brella". It's rather expensive at around $110, but it does work well, and has a really good (though bulky) clamp. http://www.bestbrella.com They just started offering an umbrella with a translucent, white/grey canopy instead of the silver and black. I prefer the grey. There are many different umbrellas available, some starting at about $40. The idea is to keep direct sun off your painting and off your palette if at all possible.
• wet panel carrier or some way to get your wet paintings home. Raymar makes an affordable corrugated plastic carrier in several sizes. http://www.raymarart.com click on "panel carriers".
Oil Paints:
alizarin crimson permanent
cadmium red light
cad. orange
cad. yellow medium (Utrecht is good)
cad. yellow light (Gamblin or Rembrandt are good)
sap green (not Utrecht)
cobalt blue
ultramarine blue
titanium white (I use Utrecht Studio Series or Grumbacher's “soft formula”, but any titanium is fine)
If you have your own palette of colors or use a “limited palette”, that’s fine. I also have in my box, but rarely use: black, grey, thalo blue and yellow ochre. It is important that you have a WARM yellow and a COOL yellow. Your cad. yellow medium should be a WARM yellow (like school bus color). If it looks too orangey, or too cool, try a different brand. Your cad yellow light should be a COOL yellow (color of a lemon). If it looks similar to the warm yellow, then try cad lemon.
cool warm
I use mostly Utrecht, Rembrandt or Gamblin oil paints.
Don’t worry about getting exactly the right brands or the perfect brushes, etc. Anything will work. I buy supplies at Blick, Jerry’s Artarama - (catalog and online www.jerrysartarama.com) and Utrecht. I get my brushes
from Utrecht.com usually No.202’s. Your brushes should be decent quality (not from a child's starter set) and in good condition (not old, stiff and worn out).
Miscellaneous:
Please, please try and get out and do some painting in the weeks before the workshop. Your class time will be much more effective! And be sure to set up your easel in advance, making sure everything works.
If you're fairly new to plein air painting, I highly recommend the book "Fill Your Oil Paintings with Light and Color" by Kevin MacPherson. It's about $24 available on Amazon and some book and art stores. Great book, very well written and illustrated, simple, clear and inspirational. Also very good is Mitchell Albala's book "Landscape Painting". Much more information, deeper, and more academic. http://www.mitchalbala.com/book/index.html
ITINERARY
ITINERARY
* Class meets 9am - 4pm daily on location, with a lunch break from 12 - 1.
* All locations have bathrooms and parking options.
* If it rains we will meet at the Todd Bonita Gallery at 39 Ceres St. in Portsmouth.
* Contact Todd Bonita regarding workshop logistics details, directions, running late, etc..
Todd's Cell: (603) 819-9100
(Day 1) Wednesday, May 23, 2018: Strawbery Banke. 14 Hancock Street, Portsmouth, NH. is a 12 acre, outdoor history museum located in the South End historic district of Portsmouth, New Hampshire. Wikipedia
(Day 2) Thursday, May 24, 2018: (To be determined, check back...)
(Day 3) Friday, May 25, 2018: (To be determined, check back...)
* Class meets 9am - 4pm daily on location, with a lunch break from 12 - 1.
* All locations have bathrooms and parking options.
* If it rains we will meet at the Todd Bonita Gallery at 39 Ceres St. in Portsmouth.
* Contact Todd Bonita regarding workshop logistics details, directions, running late, etc..
Todd's Cell: (603) 819-9100
(Day 1) Wednesday, May 23, 2018: Strawbery Banke. 14 Hancock Street, Portsmouth, NH. is a 12 acre, outdoor history museum located in the South End historic district of Portsmouth, New Hampshire. Wikipedia
(Day 2) Thursday, May 24, 2018: (To be determined, check back...)
(Day 3) Friday, May 25, 2018: (To be determined, check back...)
TIM HORN
Timothy Horn was born and raised in the small town of Yellow Springs, Ohio, and graduated from the Cooper Union School of Art in New York City in 1984, with a focus in graphic design. After finishing school, he worked at several design firms in New York before moving to San Francisco in 1992, where he continued to work as a designer. Horn took his first painting class in 1998, followed by another in the fall of 1999, and within a year he knew he had found his calling. He began painting more and more, and doing less and less graphic design until the fall of 2006 when he closed his design business entirely.
He now paints full-time and lives in the the small town of Fairfax where he is drawn to the everyday scenes of the rural areas in Marin and Sonoma Counties — the old buildings that have evaded development, the workings of ranch life, the old cars and trucks that continue on, or sometimes simply the play of light and shadow across planes of weathered color. Horn wants to create paintings that tell his story, that express his observations, “paintings that feel 100% Me”.
His work has won numerous awards, has been featured in several magazines, and was on the cover of Southwest Art in 2012. He participates in several annual group shows, and is currently represented by four galleries. Every year, Horn teaches 4 – 6 painting workshops around the country and abroad. He is an Artist Member of the California Art Club, and a Signature Member of the Oil Painters of America.
He now paints full-time and lives in the the small town of Fairfax where he is drawn to the everyday scenes of the rural areas in Marin and Sonoma Counties — the old buildings that have evaded development, the workings of ranch life, the old cars and trucks that continue on, or sometimes simply the play of light and shadow across planes of weathered color. Horn wants to create paintings that tell his story, that express his observations, “paintings that feel 100% Me”.
His work has won numerous awards, has been featured in several magazines, and was on the cover of Southwest Art in 2012. He participates in several annual group shows, and is currently represented by four galleries. Every year, Horn teaches 4 – 6 painting workshops around the country and abroad. He is an Artist Member of the California Art Club, and a Signature Member of the Oil Painters of America.
