Drawing and Painting Birds - 4-week Workshop
About the instructor: G. Marshall Hasbrouck studied at the Atelier School of Classical Realism in Oakland and at the Art Students League in New York City. In Panama, where he also completed his geography graduate research, Hasbrouck worked at the Smithsonian Tropical Research Institute as a biological illustrator for scientists.
Mr. Hasbrouck currently teaches physical geography at College of Alameda. He is a lifelong birder and has led natural history tours in Ecuador and Costa Rica.
Learn more about Marshall Hasbrouck.
Title: Drawing and Painting Birds: 4-Week Workshop
Instructor: Marshall Hasbrouck
Dates: September 3, 10, 17, 24
Day & Time: Thursdays, 7:00pm – 9:00pm
Cost: $100 Members; $120 Non-members
Description: Artist and birder Marshall Hasbrouck explores techniques to express the wonders of wild birds visually. Participants work from projected public domain photographs and learn basics of bird anatomy, feather configurations and behaviors. Students review aspects of color theory and composition while using charcoal on paper and oils on canvas,.
This class emphasizes realistic rendering. All experience levels are welcome although students already proficient in drawing and painting may take away more from the workshop.
Medium: Drawing: charcoal; Painting: oils on canvas
Notes: Ongoing weekly workshop. All artistic levels are welcome. Over 18. inimum enrollment required for workshop to proceed.
Instruction will be in two media, charcoal on paper and oils on canvas. Charcoal is used because it is inexpensive and simple to use. Oils are used because they are easy to use and are more forgiving than watercolors. Usually it is best to buy your art supplies in an art store rather than a hobby store. The first workshop session will only involve charcoal and paper, so students can observe and discuss the oil painting equipment and paints equipment prior buying any. Basic Gear and Supplies: Charcoal - Small quantity of soft vine charcoal; Small piece of chamois for removing charcoal from the paper; Paper- Two sheets of Canson paper (white or light gray); Drawing Board - One smooth, flat surface for drawing, 18 x 24 or larger (large enough to back the drawing paper Oil Paints: There are a number of companies that make tube oil paints, such as Gamblin, Holbein, Grumbacher, Rembrandt, Winsor Newton, etc. Some of oil colors are quite expensive. In general, it is a good idea to become accustomed to using good materials. For those just starting out, “student grade” are less expensive, but often contain less pigment. The instructor uses Gamblin paints; unless indicated otherwise, the colors listed below are the names of Gamblin colors. The color names are usually similar. Size 37 ml tubes are large enough to for most colors. White is used frequently, so the larger 150ml tube is useful. If you are just starting out, buy small tubes, you can always buy more at a later time. Basic Colors: Yellow - Hansa yellow medium (useful yellow without the toxic cadmium) or Cadmium Yellow Light; Orange - Cadmium Orange (Gamblin brand preferred over Utrecht); Red - Warm red: Williamsburg (brand of oil paint) Permanent Red Orange (no cadmium) or Cadmium red light (any quality brand), Cool red: Alizarin Crimson Permanent, a dark red; Viiolet - Dioxazine Violet; Blue - Warm blue: Ultramarine Blue, Cool blue: Phthalo Blue, a powerful cool blue, a little goes a long way, buy a small tube; Earth Tones - Cool brown: Raw Umber; White: Titanium-Zinc mixture (sometimes named white lead substitute). If you already have titanium white, use that. Flake white (also named white lead) contains lead based pigments, which are considered extremely toxic. The instructor uses Permalba White (a brand) because of its buttery texture. Solvents - Low odor solvents such as Turpenoid or Gamsol. Do not bring citrus-based products (strong odor and ineffective), turpentine (strong odor) or hardware store “odorless” mineral spirits (strong odor). Medium (optional) There are a number of them, from the traditional Meroger and the newer alkyd mediums. Ask the art store sales associate. Buy a small amount and experiment with it. Brushes - Soft bristle filberts (flat brushes with rounded edges) for oil paints. One small size (1/8 to ¼ wide); One medium (3/8" wide); One large (1/2" to 5/8" wide). Some of the synthetic bristles are very useful, but others don’t clean easily. Bristle brushes are stiffer and less expensive, especially for the larger sizes. To keep initial expenses down, the larger brush can be bristle. Include one small soft round, such as #1 or #2 for fine lines. Container for cleaning brushes. Suitable solvent container with wide mouth and tight-fitting lid. Ideal is a small metal container with wide mouth, interior screen, and lid that seals well (smaller size is better). Some of the small clip-on containers will work, depending on the type of palette used. Working at a table, a small jar with screw lid can be used as a substitute or a small “tin” can. If bringing the later, also bring a small plastic funnel and an empty plastic water bottle with lid in which to pour the used solvent at the end of the session.
Painting Knives (palette knives) - One palette knife. The Italian palette knives have a bent metal shaft for fingers room. Blade should be 3/4” to 1” wide and less than 2 inches long. The blade should be flexible, with a least one straight edge. Avoid extreme sizes; too small and skinny are too “futzy” for larger amounts of paint, too wide or too long large is awkward for mixing paint on a small palette. Palette - A smooth surface for holding and mixing paint. Talk with a sales associate about the options. A large size paper palette pad will work (at least 11x14 or larger), so will a piece of window glass (breakable), Plexiglas (white or clear), Masonite or “doorskin” plywood. For clear pieces, tape a blank piece of paper bag on the back to avoid background distractions. This can be done in class. The traditional wooden hand-held ones can quickly be hard on the artist's arm and wrist. The instructor never uses one of these. It is better to place the palette on a raised support, such as a folding tray table. The French easels have a drawer that can be pulled out for resting the palette.
A sealable plastic box capable of holding a tablet of palette paper is a good way to keep left over paint for the next week if you have room for it in a freezer at home. A pochade box can be purchased or made. The various manufactured pochade boxes advertised in artist magazines tend to be very expensive and is not necessary for studio painting. Easel - There are some easels available or workshop use at the FB Art Center. Contact the instructor before buying one. "French" easels, which are handy to use for outdoor painting, are generally expensive and not necessary for studio painting. Any lightweight, inexpensive easel will be fine, as long as it is sturdy and tall enough to use when standing. Mabef makes a lightweight wooden easel. The Italian steel easels are inexpensive, but heavier and the adjustment screw for the canvas holder tends to strip after a while. Stanrite makes some relatively inexpensive aluminum easels. Painting Surface - 14 x 18 or 16 x 20 stretched canvas or panel. Convenient surfaces are pre-stretched primed canvas on stretcher bars or manufactured canvas panels. Both are primed with acrylic paint. The panels sold inexpensively in art stores are generally made of heavy cardboard. The panels have less bulk than the stretched canvas. Either is OK for beginning painting. Bring one of each and try them out to see which you prefer, especially for the first session or two. A problem arises when you paint a real "keeper" on inexpensive materials. These days, wooden panels with wood back supports are available, but expensive. The unprimed ones can be readily primed at home using acrylic gesso. The instructor will show you how. Participants can stretch their own canvas or prepare their own panels. Information about this will be presented during the workshop. Rags or Paper Towels - Roll of paper towels or some soft rags. Paper towels are convenient and can be placed in a plastic shopping bag hung open from the easel legs. Disposable Vinyl or Latex Gloves - are useful for keeping pigments off your hands, but can be uncomfortable. Optional. Day Pack - Most or all of the gear (paints, solvent, brushes, etc) can easily be carried in a standard daypack such as a Jansport. A sturdy cloth grocery bag will do for the workshop at the FB Art Center. Personal Gear - Comfortable shoes for standing at the easel; Old clothes for those who tend to be messy with paint; Ball cap or visor for glare from overhead lights.
By enrolling you are agreeing the Frank Bette Center Cancellation Terms and Refund Policy.