Take your painting skills outside and learn the logistics of painting plein air with artists Sam Allerton Green and Bill Lane.  They will guide you through the fun (and frustrations) of working outside during this 2-day workshop. Painting locations TBD.

Medium: Any and all types. Sam will be painting in oils and Bill in watercolor but please paint in the medium that suits you best. This workshop is not about the medium, although they’ll address the nuances of oils and watercolors during their demos, it’s about painting outside !

During this 2-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 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 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.”