In this workshop, participants will be encouraged to explore compositions that go beyond the traditional use of a horizontal rectangle. Squares and vertically- oriented canvasses can help us resist or reinvent the traditional landscape tropes of, for instance, foreground, water, and mountains stacked on top of each other in what I call “ice cream cone space.” Join me for a three-hour workshop on a new way of thinking about space in landscape painting.
in this workshop, I’ll walk students through different types of markmaking to help them differentiate the textures of their subjects. When painters make the same mark over and over again, everything in their painting will end up looking like it’s made out of the same things. Our marks can either confirm or contradict the qualities of our subject matter so it is worthwhile to develop a wide range of strategies for our application of the paint.
The following is my standard materials list. Purchasing everything is by no means required. I am a firm believer in using what you already have. If you have a question on materials please email me at firstname.lastname@example.org
• Suggested Limited Oil Paint or Acrylic Palette
Titanium White, Yellow Ochre, Cadmium Red Medium, Ultramarine Blue, Burnt Siena, Ivory Black
• Suggested Extended Oil Paint or Acrylic Palette
Titanium White, Yellow Ochre, Cadmium Yellow Light, Cadmium Orange, Alizarin Crimson, Ultramarine Blue, Pthalo Blue, Sap Green, Burnt Siena, Burnt umber, Ivory Black
*these palettes are just suggestions, not requirements; use what you have and what you’re comfortable with.
Again, use what you have. I generally prefer flat brushes with synthetic bristles but use what you have and what you’re comfortable with. If you’re itching to get some new brushes, here are a few suggestions:
Richeson Grey Matters flat brush sizes 4 and 6— these are sturdy and basic but any flat brush will do
Princeton pointed filbert brush, size 2
Any kind of mop brush for general blending Palette Knife
Small palette, if one is not included with your French easel/pochade box
Odorless mineral spirits
Leakproof brush washer
Rags/ paper towels
Supports- canvas or panel, primed with gesso and then painted with a layer of burnt umber that will be dry by the day of the workshop
Paint box and easel— there are a million kinds and everyone has their own preference, but I love mine from Cup Easels.
Eileen Murphy has spent her life along the Hudson River and has lived in Brooklyn, NY for the last seventeen years. Her current paintings are based on the landscape of Columbia County, NY, where she and her dog Frito spend part of their time. Eileen has shown widely and has attended residencies to the Vermont Studio Center, Yaddo, and the High Line 9. She received the Individual Artist Award from the Santo Foundation in 2017; in that same year, she was invited by the US Department of State to participate in the Art in the Embassies program, which brought her to Algeria. She is currently the Lead Faculty in Drawing, Painting, and Printmaking in the MFA program at the Institute of Art and Design at New England College; her work is available at Sears-Peyton Gallery (NYC and LA), Garvey|Simon (CA), and Carrie Haddad Gallery (Hudson).
Born in 1981 in Mount Kisco, NY – BA from Mount Holyoke College, 2003 – MFA from Pratt Institute, 2006