Oregon Coast Workshop

To Register or if you have any questions,  please fill out the form below and we will contact you.

This is on outline of what a participant who attends a Grand View Workshop can expect to experience and learn. There may be additions to this and locations may change depending on the group, weather, conditions, locations, and other aspects of that location. Painters can expect on a location tour. But I promise you that every moment of your experience will be powerful and I’m dedicated to making this three day workshop one that will change the way you view the world and create art forever. Whether this is your first time painting outdoors or you have been plein air painting for years, you will learn to be a better artist by making powerful decisions that will save you time and frustration, and make painting outdoors a wonderful activity you’ll enjoy for the rest of your life.

Syllabus for Oregon Coast Workshop, June 25th-June 28th, 2015

Thursday Night (Optional – Bonus demonstration)

Travel to Florence, Oregon. Meet and greet at a hotel or meeting room.

Orientation and Overview: “Getting it Right from the Start”

Participants will receive an overview, and get a sense of what they are going to learn as well as tips and ideas about how to get the most value out of the workshop. After reviewing the daily schedule, there will be an opportunity to ask questions. Baumann will demonstrate how he paints a composition from the start, and will discuss what he believes is most important to successfully capture the essence of a location. Value, Color, Composition, Brushes and Paint are all topics that will be covered.

Day One: Friday

Drive to Newport, Oregon ~ Distance: 50 miles, about 1 hour

Possible Painting sites: 1936 Yaquina Bay Bridge Wharf, Boats,

Seals in Newport harbor, Historic Nye Beach, old buildings;
3 miles North of Newport: Yaquina Head Natural area, Agate Beach (distant view of lighthouse) called the “The Most Romantic Beach”…Sunset Magazine, and Oregon’s tallest lighthouse.

I. Visualizing: Seeing Is Believing: Starting with a Concept

We will discuss why most paintings fail within the first ten minutes of starting the painting. Artists seldom take time to develop a concept before they begin. Also, strategies that artists need to follow to create a good painting on location will be presented. We will discuss how painting is a creation of what you see, not what you see.

II. Sketching and Composition

Throughout history, great art was produced using proven systems that were based on theories developed as early as the Greeks and Romans. Later, artists in the Renaissance rediscovered these principles, and this changed the way art has been created for fourteen hundred years. Students will be introduced to the principles of composition. Participants will be asked to make sketches of their compositions on location as an opportunity to practice these principles with their own work.

III. Mechanics of What Our Eyes See

Participants will explore how the eyes see objects in real life. Since we see differently than a camera, students will learn what helps to recreate realistic impressions of life.

IV. Color: The Art of “Less”: Limited Palette

Most students have difficulties mixing color; others do well but feel that it is a trial and error process and they hope for many happy accidents. In this discussion about mixing colors, participants will be introduced to the concept of a limited palette that allows artists to work with three colors plus white. Students will learn what they need to know about mixing color for their paintings. We also will talk about the value and temperature of color, and how they can work together dynamically in a painting.

V. Chunking-In and Values: Structure and Abstract

In this segment, students will learn how to lay out a foundation in a simple abstract manner. Students will start implementing the concepts of good composition, color, and value, and are encouraged to chunk-in their preliminary painting using visualization as a means to an end.

VI. Application: The Art of Painting

We will discuss the application of paint. Students will see how to create luminous effects with dark values right from the start of a painting, and how to create the effect of light with the application of paint. Students will learn this
process by “Painting Thin to Thick,” and focusing on the “Meeting of Edges,” and the “Central Focal Point.”

Day Two: Saturday

Florence, Oregon and Vicinity

Possible Painting sites: Old Town (historic buildings), Siuslaw historic bridge,
Honeyman State Park (Lake, Dunes), Heceta Head Lighthouse and Beach Cove by Parking 11 miles out, Sea Lion Caves, Sitcoos Lake/Dune Access, Deadwood Covered Bridge
Painting a seascape by moonlight, Nocturnal paint out on Saturday evening.

I. Problem Solving: Working it out

Students will experience that drawing is very important to capture the essence of a landmark. We will also look at ”Light and Dark relationships” to create shapes, and “Proportions” to capture scale.

II. Alla Prima: The Act of Painting

What is Alla Prima painting and how is it done? We will explore how this style of painting can work for you. Qualities of “Paint Application” are also included in this discussion.

III. Sense of place: The Feeling of the Location

Most paintings replicate the visual effect of an object that is in front of us. A good painting allows the viewer to understand the artist’s interpretation and response to what he sees as he paints. Students will become aware of the
“Effect of Light”, and how light influences the viewer.

IV. Sense of Self: What and How You See

What we see is only part of what we want to paint. Creating art is different from just rendering an image on a canvas. One of the most reoccurring questions that artists ask is, “What is my style?” Your observations, insights, and how you think determine your artistic style, and this is what the world is waiting to see. We will identify the artistic “you,” and your artistic style in this important conversation.V. What is Art?

Participants will discuss their views of what art is, and why it is important that we do this thing called “Art.” Understanding this concept is important so that students comprehend the wonderful power they have being an artist.
Whatever the creative activity – music, cooking, or painting, this theory applies to everything that we do in our life.

Day Three: Sunday

WINCHESTER BAY (Reedsport) Umpqua River delta
Elk, Lighthouse, Beach, Umpqua River Delta Highway 38, Out to I-5.

I. Putting It All Together

In this last three-hour session, participants will share the new possibilities they have experienced for themselves with each other. Key discussions and critical insights will be revisited, deepening understanding of the concepts presented over the weekend, and how they can apply to our art.

II. Dealing Powerfully with Breakdowns

As we conclude the workshop, we will explore handling breakdowns effectively. Breakdowns are thoughts and feelings that stop us from painting successfully. We view what we create as something important, but the reality is far different. What we do is not who we are. In this session, we will focus on insights that can help repair breakdowns, and strategies that can help artists paint through their times of discouragement and frustration, to achieve success in their work when painting on location or back in their studio.

**Recommended Supplies:  Headlamp with dimmer or mini BBQ light to provide light for your palette or canvas at the Nocturnal paint out on Saturday evening.

 

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