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    What is it you see that makes you
    want to paint something?  
    Awareness of your inspiration
    guides the decisions you make as
    you paint. Aimee will emphasize
    the importance of having a clear
    idea for a painting and the
    practical matter of color and
    value. You will learn keys to this
    important relationship. You will
    use techniques painting live
    models and still life that useful for
    any subject.  Aimee's
    demonstrations will reinforce an
    understanding of design, vision,
    and a light-hearted approach.
    Don't miss her biography. This up
    and coming artist is rising fast!
 

Aimee Erickson
Inspiration and Design
oil- studio

July 27 - 31 , 2015
$655

Bend, Oregon
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All Levels Welcome

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    Biography: Paris-born, Portland-based oil painter Aimee Erickson takes a practical approach to painting. Trained as an
    illustrator in BYU’s Visual Communication Design program—where learning to draw was a requirement— she thinks
    in terms of creative problem-solving and intention. Her paintings are informed by fundamental design principles and an
    interest in abstract paint quality and color.

    After college she sought instruction from various painters and has studied with Sherrie McGraw, Burton Silverman,
    and at the Florence Academy with Joseph Paquet. Her influences and favorites  include a lot of old-school illustrators
    and traditional painters, as well as some composers and poets.

    Over the years Aimee has worked at a variety of artistic endeavors: first as a scenic designer, and then as an expert
    freelance architectural color consultant, muralist, designer, and art instructor. Her mural projects include several
    school murals and one at the Multnomah Arts Center, ranging from forty to 180 feet long, all done with the help of
    hundreds of volunteers applying paint using Q-Tips to a mosaic-like effect. Aimee is the first woman artist to paint an
    Oregon gubernatorial portrait, that of Barbara Roberts in 1997.

    In the last two years, Aimee’s work has received national attention, including the following awards:

    Best of Show in the American Women Artists 2014 National Juried Exhibition
    Gold medal for portrait/figure in oil at the First Annual International Artists’ Guild Exhibition
    Award of Exceptional Merit from the Portrait Society of America
    First Place in the Emerging Plein Air Artists 2014 competition featured as an “Artist to Watch” in the March         
    2014 issue of Southwest Art Magazine
    Best Two-Dimensional Work in the American Women Artists 2013 National Juried Exhibition
    First Place at the 2013 Pacific Northwest Plein Air event in Hood River
    First Place at the Eugene Paint-out
    An unprecedented three ribbons--First Place, Honorable Mention, and People’s Choice—at the 2013 Carmel Arts
    Festival, where she again won first place in 2014.


Class Outline
    This 5-day oil painting workshop presents the opportunity to paint directly from the model or a still life set-up, and
    emphasizes the importance of having a clear idea for a painting. What is it you see that makes you want to paint
    something? Awareness of your inspiration guides the decisions you make as you paint. The first day begins with the
    practical matter of color and value. A structured exercise will reveal keys to this important relationship. Subsequent
    lessons on days will impart techniques useful for any subject.  Short lectures and demonstrations will reinforce an
    understanding of design, vision, and a lighthearted approach. Plenty of studio time and individual instruction.

    SKILL LEVEL Appropriate for all levels; true beginners are advised to familiarize themselves with tools and materials,
    including French easels, before class starts.
- Premier Destination
Workshops
Since 1983

    Materials

    PAINTS

    You can paint with as few as two pigments, or even just one. I often vary my palette depending on the subject and
    conditions. This list is a good basic set of colors.

    Flake White (Titanium is OK)
    Genuine Naples Yellow Light (Vasari)
    Cadmium Yellow Light
    Cadmium Yellow Deep
    Yellow Ochre
    Transparent Earth Red
    Terra Rosa or Venetian Red
    Cadmium Red Light
    Alizarin Crimson
    Ultramarine Blue
    Cobalt Blue
    Asphaltum (Gamblin)
    Raw Umber (Old Holland)
    Chromatic Black

    Brushes

    If you’re in need of a good set of brushes, I suggest the Rosemary Brushes NGLOVE set.

    I use hog bristle brushes from Trekell, flats or long filberts, in a range of sizes, as well as Rosemary’s long rounded
    ivory flats, ivory filberts, and ivory egberts,

    Solvent & Medium

    A solvent (turpentine, traditionally) dissolves and thins wet paint. Use odorless solvents only (Gamsol). You’ll also
    need a small container or palette cup to hold solvent. A stainless brush washer with a basket and a lid that clamps on is
    good for cleaning brushes during and after painting.

    A medium is used to change the consistency of the paint. I use Flemish Maroger and Venetian Wax Medium from Old
    Masters Maroger (oldmastersmaroger.com).

    Palette

    Something to mix your paints on. Please don’t use a white palette; it makes judging values very difficult. A wooden
    palette is fine; treated repeatedly with linseed oil it makes an ideal surface for mixing. Glass or plexiglass is also good;
    tape a neutral color paper to the back. If you prefer a disposable palette get the gray one from Richeson.

    SUPPORTS

    A support is a surface to paint on, and a ground is the primer, usually gesso, used to coat the support to prepare it for
    painting. Paper is a good support if coated with shellac. Stretched canvases or canvas boards are best.

    Size and quantity of supports depends on the student. Sometimes you’ll want to do a sustained study and sometimes
    several starts.   Better too many than not enough.

    Tone gessoed supports with a middle value using a little solvent and any neutral combination of paint (such as burnt
    umber plus ultramarine blue, or raw umber plus a little white).  Then use a paper towel to remove excess and create a
    thin, even tone.     

    Painting Knife

    A knife can be used for mixing and for applying paint. A two- or three-inch knife with a long, graceful shape is the
    most versatile. Use a razor blade to scrape encrusted paint.  

    Paper Towels.

    French Easel.