HUMMINGBIRD
Location
HUMMINGBIRD is located near the I-5 corridor near the Oregon- California border, just 20 minutes from Jacksonville, 30 minutes from Medford, 45 minutes from Grants Pass and 50 minutes from Ashland. Click here for a local map.
HUMMINGBIRD is located near the I-5 corridor near the Oregon- California border, just 20 minutes from Jacksonville, 30 minutes from Medford, 45 minutes from Grants Pass and 50 minutes from Ashland. Click here for a local map.
Photos and Comments from past WORKSHOPS
at HUMMINGBIRD
at HUMMINGBIRD
Terry Miura
Plein Air Oil Painting
June 6-7-8
Plein Air Oil Painting
June 6-7-8
Contact by email
or phone 541-899-7045
or phone 541-899-7045
10% discount on total tuition
if your initial registration includes more than one workshop.
if your initial registration includes more than one workshop.
.
Workshop Description
"I firmly believe that the only way to really learn about the effects of natural light on color is to get outside and paint
from direct observation. However, in the course of making a painting, there is an overwhelming amount of information which needs to be processed, and the task can be daunting, to say the least.
Organization is key. By recognizing that there are ways to simplify and structure each problem you encounter during the course of making a painting, and by learning how to solve these visual problems logically and in an organized fashion, you have a much better chance of arriving at a successful painting.
Painting is a language. And as with any language, there are rules. Without first learning spelling, vocabulary, and grammar, you can't possibly construct sentences that make sense and communicate effectively, much less create poetry! Painting is no different. Without first learning the rules, you can't make a decent painting!
When I teach painting, whether en plein air or in the studio, I try to simplify the process and make sense out of each problem. Demonstrating how it's done is of course important, but I also try to explain the whys in very logical ways.
Simplify the problem, and you simplify the solution. And you're on your way to making better paintings!"
"I firmly believe that the only way to really learn about the effects of natural light on color is to get outside and paint
from direct observation. However, in the course of making a painting, there is an overwhelming amount of information which needs to be processed, and the task can be daunting, to say the least.
Organization is key. By recognizing that there are ways to simplify and structure each problem you encounter during the course of making a painting, and by learning how to solve these visual problems logically and in an organized fashion, you have a much better chance of arriving at a successful painting.
Painting is a language. And as with any language, there are rules. Without first learning spelling, vocabulary, and grammar, you can't possibly construct sentences that make sense and communicate effectively, much less create poetry! Painting is no different. Without first learning the rules, you can't make a decent painting!
When I teach painting, whether en plein air or in the studio, I try to simplify the process and make sense out of each problem. Demonstrating how it's done is of course important, but I also try to explain the whys in very logical ways.
Simplify the problem, and you simplify the solution. And you're on your way to making better paintings!"
Beth Cavener-Stichter 07
Dennis Meiners 04,05,06,07
Jim Koudelka 05
Jim Robinson 04
Josh DeWeese 07
Leslie Lee 04,05,06,07
Meira Mathison 07
Patrick Horsley 06
Paul Bennett 06
Phyllis Trowbridge 05
Richey Bellinger 05
Victoria Christen 06
Virginia Cartwright 04
Dennis Meiners 04,05,06,07
Jim Koudelka 05
Jim Robinson 04
Josh DeWeese 07
Leslie Lee 04,05,06,07
Meira Mathison 07
Patrick Horsley 06
Paul Bennett 06
Phyllis Trowbridge 05
Richey Bellinger 05
Victoria Christen 06
Virginia Cartwright 04
Terry will also discuss the pros and cons of framing and how to do it properly.
General supply list:
Field easel - There are many kinds of field easels available commercially. Any kind will do, but try it out before you bring it to the workshop, and make sure you know how it works.
Palette - Sometimes it's integrated into the field easel if you use systems like the Open-M Box or the Soltek easel. Other times, it's a separate thing you have to bring along. Glass surface is best. Wood is good also. New wood palettes should be treated with a medium - rub generous amounts of Liquin with a rag, and let stand a few days.
Colors - the following are recommended colors.
cadmium lemon
Cadmium Yellow Deep
Cadmium Red Medium or Permanent Red,
Transparent Earth Red (Gamblin) Different brands have different names for this color, but basically, it's a transparent reddish brown. Very versatile and indispensable
Ultramarine Blue
Ivory Black
Titanium White
Brushes - Hog bristle flats, No. 1, 6, (a few of each)
Portable brush washing tank with Turpenoid (BLUE can)
Palette knife - a standard 3-inch trowel shaped
Supports - Canvases, canvas panels, or linen panels. Bring several, any sizes but I recommend no bigger than 12 x 16 inches.
Paper Towels - bring a few rolls (VIVA holds up well)
Trash bags - plastic grocery bags work well
Umbrella and some way to support it - To shield the canvas and the palette from the sun.
Extras; bottled water, bug spray, sun block, versatile clothing ( could be hot or chilly), hat, sketchbook and pencils or pens,
Paint scraper, (get it at the hardware store), some way to carry wet panels/canvases.
Field easel - There are many kinds of field easels available commercially. Any kind will do, but try it out before you bring it to the workshop, and make sure you know how it works.
Palette - Sometimes it's integrated into the field easel if you use systems like the Open-M Box or the Soltek easel. Other times, it's a separate thing you have to bring along. Glass surface is best. Wood is good also. New wood palettes should be treated with a medium - rub generous amounts of Liquin with a rag, and let stand a few days.
Colors - the following are recommended colors.
cadmium lemon
Cadmium Yellow Deep
Cadmium Red Medium or Permanent Red,
Transparent Earth Red (Gamblin) Different brands have different names for this color, but basically, it's a transparent reddish brown. Very versatile and indispensable
Ultramarine Blue
Ivory Black
Titanium White
Brushes - Hog bristle flats, No. 1, 6, (a few of each)
Portable brush washing tank with Turpenoid (BLUE can)
Palette knife - a standard 3-inch trowel shaped
Supports - Canvases, canvas panels, or linen panels. Bring several, any sizes but I recommend no bigger than 12 x 16 inches.
Paper Towels - bring a few rolls (VIVA holds up well)
Trash bags - plastic grocery bags work well
Umbrella and some way to support it - To shield the canvas and the palette from the sun.
Extras; bottled water, bug spray, sun block, versatile clothing ( could be hot or chilly), hat, sketchbook and pencils or pens,
Paint scraper, (get it at the hardware store), some way to carry wet panels/canvases.
This workshop is full