Join veteran landscape artist Philip Koch in an intense and fun-filled three-day class. We will explore 10 little known tools to strengthen one’s landscape paintings. Work will be done out on location from both natural and architectural sources. This course offers sound, practical advice for both beginning and experienced painters. The instructor will work one on one with each student as well as lead group brainstorming sessions on the works in progress. Particularly helpful examples from past artists will be shown to help students forge expressive contemporary landscape paintings. "Landscape painting is a rich conversation that has been going on for a hundreds of years. It echoes through us today as we reinvent the tradition to make vital and personal paintings" says Koch.
Philip Koch has painted each summer on Cape Cod for over 30 years. He has enjoyed 10 residencies in Edward Hopper’s former painting studio in S. Truro. His work has been featured in 11 solo museum exhibitions including the Cape Cod Museum of Art. In 2008-9 the University of Maryland University College will circulate a scholarly catalogue and traveling exhibition of his work, from the Cape and the Maine coast, to several New England art museums. He has been a professor at the Maryland Institute College of Art since 1973.
General Information Students can work in either oil or acrylic media. Plan on doing at least 3 small scale paintings (16x20" or smaller- stretched canvas or gessoed masonite panels recommended). In addition we will do a little monochrome drawing so please bring a sketch book and soft charcoal.

Suggested Materials List:

- Folder to collect the handout sheets listing the "10 secrets for landscape painters"
- Small sketch pad
- A few sticks of vine charcoal and a good eraser
- A wide brimmed hat
- Sunglasses, sunscreen, a light jacket.
- A pad or mat to sit on if the ground is wet
- Paper towels (Bounty brand recommended)
- Brushes- a selection of 6 bristle flat brushes ranging from _ to 1 inch wide
- Palette (wood, masonite, or disposable wax paper palettes all ok)
- Palette knife for mixing color
- A trash bag to hold your used paper towels

Pigments (either oil or acryic pigments ok. Small 37 mm tubes ok ):

- burnt sienna
- raw umber
- ultramarine blue
- phthalocyanine blue (phthalo blue)
- phthalocyanine green (phthalo green)
- cadmium yellow
- cadmium red
- quinacridone violet or alizarin crimson
- dioxazine purple
- large (150 mm) tube of titanium white
- plus any other pigments you wish to work with

If you are working with oil pigments:

you will need to have solvent- I would recommend a quart of Gamsol.
Oil painters will also need a painting medium. I recommend the traditional linseed oil painting medium that you pre-mix (1/3 part artist’s linseed oil, 1/3 part damar varnish, 1/3 part gum spirits of turpentine) and then bring it out into the field with you in a small jar with a metal screw on top. An alternative medium would be Gamsol. You will also need a double palette clip on cup to hold the medium and the solvent.

Please note: Gamsol or Sansodor for thinners & Galkyd or Liquin for medium must be used when working inside PAAM studios due to toxicity of turps, varnish, etc.

Acrylic painters will need a squeeze bottle filled with water and a can of water to wash out brushes.

Painting surfaces: You should have three small surfaces ready to go. Either stretched canvas, gessoed masonite, or canvas board are suitable. Probably working between approximately 8 x 10" and 16 x 20" would be best. The larger the brushes you work with, the larger the painting surface you can handle.

You will also need a box large enough to hold everything but small enough to carry.
The wooden painter’s boxes that hold the wooden palette securely are excellent. They or a rigid cardboard box can double as a make-shift easel.

A folding portable easel, while not required, is strongly recommended. They hold the painting securely, and allow you step back while you are working to consider the entire painting’s surface.