Plein air / Studio
“Light has color and the color of light changes during the day as well as seasonally through the months of the year. Learn to see and paint the truth of color in nature.”
Lee Boynton is a painter of light.
His passion for painting light was first ignited while studying with Impressionist master Henry Hensche at the Cape Cod School of Art in Provincetown, MA in the 1980s. Under Henry’s exacting instruction, Lee learned to use a palette of colors that corresponds to the natural spectrum of light, which he feels increases the artist’s ability to depict the subtle nuances of the changing light effects in nature.
Lee is as gifted in his ability to teach as he is in his ability to paint. He has a remarkable way of infecting his students with his passion for plein air painting. He is able to explain complicated concepts in understandable terms and is fully dedicated to having each student succeed. His workshops are challenging and they are also a lot of fun. A special camaraderie forms among the students as they share their triumphs and experience the thrill of seeing and painting the light. Lee was instrumental in founding the Mid Atlantic Plein Air Painters Association (www.MAPAPA.org). His plein air oil and watercolor paintings have received awards in Plein Air Easton, The Wayne Arts Festival,
and Paint Annapolis plein air painting competitions. He is co-author of Painting the Impressionist Watercolor,and has been featured in articles on painting the light in the American Artist Magazine. His plein air oil painting “Thanksgiving Snow” was selected for the American Impressionist Society’s 13th annual national juriedexhibition in 2012.
Learn to paint fresh, light-filled plein air landscape paintings of dramatic coastal scenes, using the Impressionist palette of colors. Lee will train you to see the variations in value and color in the summer landscape, and how to apply the Impressionist theories of color and light to capture the changing light effects and moods. You will learn to apply solid principles of composition and will be encouraged to increase your painting speed which will bring a sense of spontaneity to your work. Come prepared to paint the sunset at least two evenings during the workshop.
"I came away from your workshop very inspired and motivated. Thank you for sharing your enthusiasm, talents and your love of painting and teaching with us.
This is the best workshop I have ever taken!" Rosanne Francesoni, Student
$650 per student
Supports: An assortment of acrylic gessoed canvas panels: Utrecht, Fredrix-linen Board or Dick Blick: 6 panels each of 8x10 and 9x12. 2 panels 11x14 and one of 12x16.
Paints listed by Manufacturers: (same colors can have different names)
Paints are listed in the order they are to be arranged on the palette
Holbein Colors (except where another manufacturer appears in parenthesis)
Permanent Rose (Winsor Newton)
Cadmium Red Purple
Cadmium Orange Red Shade
Cadmium Yellow Deep
Cadmium yellow Light
Cadmium Green Light
Permanent Green (Winsor Newton)
Oxide of Chromium
Manganese Blue (Old Holland)
Old Holland Blue Violet (Old Holland)
Quinacridone Violet (Williamsburg)
Ultramarine Violet (Williamsburg)
Titanium White 150ml (Rembrandt)
Medium: One part stand oil and five parts thinner (Gamsol) in plastic squeeze bottle
Brushes: Raphael Paris One of each of hog bristle brushes: filbert numbers 4,6,8,12; one each of rounds
# 2&4. Silver Brush Brislon: brushes and filberts
Painting Knife: Holbein # 35 or #37
Palette: Wooden palette or what you are used to. (Lee handcrafts the finest balanced wooden palette available. Contact him if you are interested in ordering one well in advance of the workshop)
Misc: Brush washer with tight lid, small tuna can, Bounty paper towels, quart of Gamblin Gamsol thinner, Light blue Carb-othello pastel pencil, 12x16 inexpensive sketch pad, 4B and 6B pencils.
Viewer: Cut a 4x5 inch rectangle window out of the center of a 6x7 piece of mat board. Attach heavy thread at thirds vertically and horizontally.
Easel: Whole of half Julian French Easel Box.
Painting Knife: Loew Cornell “J-2”
Palette: Wooden palette or what you are used to. (Lee handcrafts the finest balanced wooden palette available. Contact him if you are interested in ordering one well in advance of the workshop).
Misc: Large tuna can with screen, small tuna can, Bounty paper towels, quart of Gamblin Gamsol thinner, Vine charcoal, 12x16 inexpensive sketch pad, 4B and 6B pencil.
Viewer: Cut a 4x5 inch rectangle window out of the center of a 6x7 piece of mat board. Attach heavy thread through centers of each side.
Easel: Whole or half Julian French Easel Box
Alternative list of paints (may be less expensive)
Paints are listed in the order they are to appear on the palette
Cadmium Yellow Pale
Cadmium Green Pale
Oxide of Chromium
Titanium White (120ml)
WHAT ELSE? Easel: Remember that we will be working on site in the field, so portability is an important factor. Another thing to consider is weight so the wind does not carry your setup away. I use a French easel, and I have a small portable table for the rest of my gear. I will bring extra tables with me for those of you who may need them. Bring the outdoor setup with which you have been working and which is the most comfortable and compact for you. EASELS ARE AVAILABLE FOR RENT AT THE ACADIA WORKSHOP CENTER – Reserve when you register.
Additionally, there are the bugs to consider. Bring your hat with a visor, and insect repellent. And don’t forget your curiosity, adventure and enthusiasm. If you have any questions in the meantime, feel free to email me. I am looking forward to seeing you soon.