Exciting Watercolor Landscapes that Paint Themselves!
May 24-29, 2015 (Four Teaching Days)
New to Dillman’s
We will explore impressionistic techniques ideal for use in landscape painting, including many approaches developed by Nita Engle. Using Engle’s selected palette of ten colors, we will learn the use of multicolor washes to create skies and background tints, the strategic use of frisket and masking, the Engle method of throwing and spritzing of paint and water to create the randomness of believable foliage, a clever technique for creating realistic tree bark using a paint knife, the creation of luminous water surfaces, and the rubbing of paint to create grass and ground cover. In short, the techniques you will learn allow your painting “to paint itself.” You will learn a better method for stretching paper to support the wet techniques presented. We will likewise incorporate many compositional and finishing hints when we combine all of the above techniques into one, integrated, finished landscape painting.
It is my style to work interactively with workshop participants and I will be there with you to answer questions and address problems as they arise. Some of this gets messy, so wear old clothes or a smock/apron.
Plan to have fun on this journey of watercolor exploration, as you watch your newly learned techniques paint your landscapes for you! Don’t miss this one.
Carol Schulz received her first formal art training as an undergraduate at Northern Illinois University. After continued education in non-arts fields (two Master’s Degrees and a Ph.D., she became an award-winning university professor teaching Anthropology at Alfred University in NY State. Then she moved into the private sector and rose to Vice President of an international corporation in high-technology, research, and engineering.
Upon her retirement, she once again took up the brushes, but this time in a medium new to her - watercolor. “Cover new ground throughout your life; there’s no sense in plowing the same field over and over!”
Mostly self-taught, Schulz sought out specialized training from selected, admired watercolorists, including Mark Hobson of British Columbia and Nita Engle of Michigan. An impressionist at heart, Schulz uses bold colors and melds together diverse techniques to accomplish her work. “Do what works. And, paint what YOU and YOUR AUDIENCE enjoy! Nature is beautiful; make it so.”
After over a decade of watercolor painting, showing, and marketing, she has sold 1500 paintings and several thousand prints. Her work can be found in homes and private collections on several continents.
Impressionist LandscapesImpressionism is best when it is just real enough to fool your eye into experiencing a believable laandscape scene. Personally, I like to focus on the myriad variations of sky and foliage, the patterns they form, and their response to seasonal change. When looking at my landscapes I want you to be able to "feel" the air temperature and humidity, to "smell" the vegetation, to "hear" the sound of the rustling trees and the birds circling through the air. I would like you to feel invited to step through the picture frame and stand in the scene. This does not require a depiction of photographic reality. Painters are not photographers. We strive to go a step beyond that and transcend what your eye would see through a camera lens. Using impressionistic techniques, we fool your eye into experiencing detail that is implied, but not depicted. This works because the human brain instinctively strives to create order and completion where it does not exist. The mind will "fill in the blanks" created by impressionist techniques and make you believe in the scene's veracity. It is this universally human mental process that has kept impressionism popular for the last century, and continues to keep its images exciting and fresh. No matter how long you own a good impressionist painting, you will come back to studying it again and again. It will not fade into the wallpaper on which it hangs. It will keep luring your eye back to it to revisit the mindís process of completion and to find exciting, new solutions. This process is rewarding to the human brain. It makes you feel good. This, I believe, is what makes impressionism timeless
Studio: Something for all levels.
Workshop Fee plus tax per student:
If 12 or more students attend class (all teaching days): $470
If 11-10 students attend class (all teaching days): $495
If 9-8 students attend class (all teaching days): $535
Room & One Dinner Fee plus tax: $365
(There are 5 nights' accommodations included in the "Room & One Dinner Fee" listed above.)
Class Fees and Tiered Pricing Explained
A partial tuition scholarship is offered
Check-In to your unit at Dillman’s (check-in time is 3:00)
5:00 Welcome Reception (included in package)
6:00 Dinner at Dillman's (included in package)
Monday, Tuesday, Wednesday & Thursday 5/25-5/28
Breakfast On Own
9:00 a.m. - Noon Class in Session
Lunch On Own or Box Lunches can be ordered (pre-order required)
1:00 p.m. - 4:00 p.m. Class in Session
1:00 p.m. Farewell Champagne Toast (included in package)
Depart - check-out time is 10:00
Optional Events - Sign Up Required / Subject to Change:
Monday 5:30 p.m. Dine-Around Dinner
Monday 7:00 p.m. S'more Roast (no charge)
Tuesday 8:00 a.m. Yoga
Tuesday 6:00 p.m. Dine-Around Dinner
Wednesday Noon & 4:00 p.m. Pontoon Ride on White Sand Lake (no charge)
Wednesday 5:00 p.m. Moondeer & Friends Gallery Tour (no charge)
Wednesday 5:30 p.m. Dine-Around Dinner
Thursday 5:30 p.m. Dine-Around Dinner
Dine-Around Dinners: Registration required at the front desk, meet at 5:00pm in the main lobby for carpooling.
Day students are welcome to attend the Welcome Reception and Farewell Reception (included in your package). You are also invited to join the class dinners (additional fee). PAL’s (Participants at large) can vacation at Dillman’sfor $45 per night for accommodations. Costs for box lunches and dinners are additional.
NEXT WORKSHOP ON THE SCHEDULE