Acadia Workshop Center

Workshops run 5 days, M-F, unless noted otherwise.
Kay Kandra
Beyond Pretty Pictures - Watercolor
September 17 - 21, 2012

Plein air / Studio
Kay's' students are always happy when she teaches a workshop!  An excellent teacher, her style ranges from traditional to impressionistic to abstract depending on the subject matter, mood and her point of view.  She is a well respected mentor and her name is synonymous with watercolor. 

All levels $595 per student

Artist website: www.kaykandra.com

Register for this class HERE


SUPPLY LIST
Here is a supply list for perusal.  Basically I am okay with students using their usual equipment, pigments, etc., so they are comfortable.  No need to spend a fortune on new gear and not be familiar with it.  It is hard enough to paint outside (or inside) without having to learn a whole new “vocabulary” in a few days!
    If anyone has any serious problems or questions they can e-mail me or call me. Please note that basic supplies are available at the Acadia Workshop Center.

Easel Too many designs to be specific.  If you do not have one, ask “plein air” watercolor painters for their preferences or call me.  I use one fashioned from a type of camera tripod which is no longer available.  French easels are great but too heavy and clumsy for me, but everyone loves them.  I believe it is better to stand, but bring a chair or stool if you need one on painting trips.

Palette I use the old Robert Wood palette.  I like my pigments soupy and need wells with four sides.  However, I've  used the John Pike palette for decades.  I also like the folding metal palettes with thumb holes for smaller jobs.  There are plastic copies now, with small wells but okay.

Paper Use at least 140 lb. Paper.  Cold press is the most used; I believe we are all familiar with the surface.  However, I use six or eight papers regularly; so, if you prefer other paper, I am okay with it. 
I use the following papers:
D’Arches / cold, hot & rough
Fabriano / cold, hot & rough
Windsor Newton / not cold press & rough
Aquarius II
Strathmore / 500 series, plate & regular finish
Kilamanjaro
Mat boards
Print making papers in gray, & buff tints (B.F.K.)
Even gessoed  masonite

I think it is important to paint al least 1//4 sheet size, 11”x15” or similar block size, 12”x16”, but maybe throw in smaller pieces or a 9”x12” block for quick studies.
    Of course watercolor blocks are great to use.  I usually use sheets for variety of surface texture and size of paper.  Blocks are heavy and we are more likely to use that same rectangular shape all the time.  I think it is funs to try different proportioned rectangles, such as 1/3 sheets or half sheets “the long way.”

Boards  I believe ½ sheet paper is the largest for comfort level in the great outdoors; so, your board should be a little larger than 15”x22”.  Gator board masonite or plexiglass are all good to use.  Gator board is probably the lightest weight.

Pigment Pigment is very personal.  Some of my choices are long held ones and then every once in a while I try a new hue.  Everyone needs a few reds, yellows, blues and earths.  No need for 50 colors.  My palette has 24 wells and I use 21 colors plus white gouache.  Sometimes I really like painting opaquely and usually keep one whole palette of gouache colors for those forays. 
My present list is:

RedsBrown madder WN (this could be considered an earth)
Rose madder genuine WN
Alizarin carmine WN
Opera H
Scarlet lakeWN

Orange: Cadmium or Windsor WN (rarely used – mix instead)

Yellows: New gamboges  WN
Aureolin  WN

Greens: OliveWN
Viridian  DS
Windsor (Blue shade)  WN

Blues:   Cerulean  WN
    Cobalt  WN
    Ultramarine WN
    Windsor blue (red shade) WN
    Peacock  (just experimenting now)

Violet:   Windsor violet WN or Permanent mauve  WN (can be mixed, save money)

Earths:  Naples yellow  WN
     Quinacridone gold DS
     Quinacridone sienna DS
     Quinacridone burnt orange DS

Brushes can be synthetic bristle – no need for Kolinsky sable.  Simmon’s or Utrecht’s are good, Windsor Newton’s are fine, also.  I don’t insist on lots of brushes, but I do like large brushes, that is, larger than you might be using now.  These are the recommended brushes:
- 1 ½ to 2 inch flat for wetting and glazing
- 1 inch flat
- ½ inch flat
- rounds, several mediums from 8 to 14, and several   larger 26, 30 or 36 like the goliaths by R. Simmons
- rigger, 4 or 6
- and also, if you must, smaller for those details we don’t need, or to sign with

Miscellaneous - Water containers, one for carrying about two liters and one for painting, Paper towels,
Tissues, Sketch book, pencils, erasers, Tape and/or clips for board, Insect repellant, Sunscreen, Cap or visor, Stool or chair, if needed, Waterproof barrier for sitting on the ground or rocks, Camera & film (or memory card), Raincoat, jacket, etc., for layering