Enjoy 3 days of plein air painting on gorgeous Aquidneck Island with Sam Green and Bill Lane. Each day will start with an on-site demo (same scene), Sam using oil paints & Bill using watercolors; review equipment; talk about the chosen scene and why; plan the composition; and determine the values. After which (roughly 10:45 am) you’ll head off to paint at a location of your choice (somewhat nearby). Sam & Bill will be around providing individual attention throughout the day. We’ll have an informal crit on location around 3:30.

During this 3-day workshop, Sam and Bill will cover:

– equipment

– location scouting

– determining a potentially successful scene with focus on composition, focal point and a creating a “story” in your painting

– learning to be mindful of your surrounding area

– dealing with the elements… which change constantly – and more!

Here’s how the day may unfold:

Demos begin at 9:00 am sharp at the designated location. Locations will be pre-selected and maps will be provided.

BYOL – Lunch will not be provided.  Please plan to bring your own lunch.

The day will end with a group crit with your day’s work around 3:30 and wrapping up around 4:00 – 4:30.

About Sam

Sam Allerton Green paints often, both inside and outside. The majority of his work is done plein air, on site, in a single session. This forces him to focus on capturing what it feels like to be there, rather than simply replicating what he sees.

Sam grew up in Providence, and studied painting at the Maryland Institute College of Art. He has been an artist in residence at The Creative Alliance at the Patterson in Baltimore, MD, and the Vermont Studio Center in Johnson, VT.

About Bill

Bill also paints often both inside and out when the weather accommodates his winter plein air watercolors. He grew up in Newport and studied graphics at SMU (now UMass Dartmouth). Artist Statement: “Everyday scenes from life intrigue me the most; be it a barren skyline, boats at the dock or city life on a busy day. I observe how the light plays into the scene and dances off the subjects. Because of this, I always work light to dark, saving those light values for the “sweet” spots in the painting.”