Port Clyde morning

I WILL BE OFFERING THREE WORKSHOPS THIS YEAR, 2019; TWO “THREE DAY” - JULY 8,9,10 AND SEPT, 9,10,11 AND ONE FIVE DAY, AUGUST 19-23.  THE FIVE DAY WILL AGAIN BE WITH TOLLEF RUNQUIST WHO WILL JOIN US FOR THREE DAYS OF THE FIVE.  ALL WORKSHOPS WILL TAKE PLACE ON THE BEAUTIFUL SAINT GEORGE PENINSULA.

The workshops will build on the foundations of plein-air painting, focusing on the dynamics of building a painting, composition, color and the techniques of alla prima painting as well as employing the same techniques to paint from digital photos.  We will start with short studies focusing on quick establishment of composition and proceed with a variety of exercises to improve plein-air techniques and lots of individual attention.  Particular emphasis will be on capturing a sense of light and its use as a compositional element.  Locations for painting will include the village of Clark Island by the Craignair Inn, trips to Port Clyde, Tenants Harbor, Marshall Point, South Thomaston and surrounding areas.

WORKSHOP #1   THREE DAY - July 8, 9 and 10.   This work is limited to 8 people. 

Cost $350

WORKSHOP #2  THREE DAY - SEPT 9, 10, and 11.  This workshop is limited to 8 people.

Cost $350

WORKSHOP #3  FIVE DAY - AUGUST 19-23.  This workshop is limited to 10 people.

Cost $500

ARTISTS BJÖRN AND TOLLEF RUNQUIST WILL TEAM UP AGAIN TO HOST A FIVE DAY PAINTING WORKSHOP AUGUST 19-23.

 Both artists are widely recognized in Maine and beyond:  Björn Runquist’s work can be seen at Landing Gallery in Rockland, Me.   Björn will be joined for three days by Tollef Runquist whose work can be seen at Dowling Walsh Gallery in Rockland, Me. and Ober Gallery in Kent, Ct.   While working in quite different manners the two artists (father and son) share a passion for painting and the immediacy of working on site as well as in the studio.  The workshop focus on the foundations of plein-air painting, focusing on the dynamics of building a painting and the techniques of alla prima painting as well as employing the same techniques to paint from digital photos.  We will start with short studies focusing on quick establishment of composition and proceed with a variety of exercises to improve plein-air techniques and lots of individual attention.  Particular emphasis will be on capturing a sense of light and its use as a compositional element.  Locations for painting will include the village of Clark Island by the Craignair Inn, trips to Port Clyde, Tenants Harbor, Marshall Point, South Thomaston and surrounding areas.  PLEASE NOTE:  TOLLEF WILL BE HERE FOR THREE OF THE 5 DAYS

Five Day Workshop, August 19-23, 2019:  Price $500

To register please email me at brunquist48@gmail.com or call 207-596-7423.  When signing up please send a deposit at time of registration $175 for workshops #1 or #2 of $250.00 for workshop #3 (make check payable to Björn Runquist) to:

Björn Runquist

104 Patricia Lane

Spruce Head, ME 04859

Email: brunquist48@gmail.com

 The balance of $125 for workshops #1 or #2 is due  June 1, 2019 and $250 for workshop #3 is due July 1, 2019. 

CANCELATION POLICY:  REFUNDS UP TO 8 WEEKS BEFORE THE CLASS ARE AVAILABLE MINUS A $50 DEVICE FEE.  FOR CANCELLATIONS AFTER LESS THAN THREE WEEKS BEFORE THE START OF THE WORKSHOP WE CANNOT OFFER A REFUND.


ACCOMMODATIONS: I CAN RECOMMEND THE NEARBY, EXCELLENT CRAIGNAIR INN IN CLARK ISLAND.  THEY OFFER DISCOUNTS FOR PEOPLE ATTENDING MY WORKSHOPS.  CHECK THEM OUT ON LINE AT WWW.CRAIGNAIR.COMOR CALL 207-594-7644.

Plein air painting requires transporting equipment and supplies over terrain that can be challenging at times.  We would love to have you join us but, you do so assuming the risks inherent in this practice:  PLEASE NOTE THAT WE ACCEPT NO RESPONSIBILITY OR LIABILITY FOR ANY LOSS, DAMAGE OR INJURY TO YOU OR TO ANY OF YOUR MATERIALS, WORK OR ANY POSSESSIONS WHETHER OCCURRING ON MY PREMISES OR AT WORKSHOP LOCATIONS, OR DURING TRAVEL TO OR FROM PAINTING LOCATIONS DURING THE ENTIRE WORKSHOP.

MATERIALS LIST 2019

Oil paint, either water soluble or regular:  35 ml tubes of each of the following except white where you should a large tube (150ml or 200ml)

Titanium white

Ultramarine blue

Cobalt blue

Pthalo blue

Lemon yellow

Cadmium yellow light

Cadmium yellow medium

Cadmium red medium

Alizarin permanent

Burnt sienna

Golden ochre

Optional colors:

permanent rose

cerulean

magenta

any of the colors in the Gamblin “Radiant” series”

Raw sienna

Veridian

Black

For clean up:

I use Eco House Ultra Mild Citrus thinner  and Gamsol for painting and for cleanup.  Murphy's oil soap is good for cleaning brushes.  Any oil, including even olive oil, can be used to clean yourself.  You will not be able to transport solvents on a plane.  Your painting can be packed and labled "artist's colors" (not "oil paint")  Gamblin has a good site for dealing with traveling with paint.

A couple of metal jars for solvent.  Even better, a jar with a coil in it (art store or on line).  Best is a metal container for solvents with a lid that attaches firmly.  Available on line at Utrecht, Jerrys or Blick.

Mediums:  Any of these are useful

I use mostly the mild solvents as a medium and then simply Linseed oil

Galkyde  is useful as it speeds drying time

NB:  If you are using water soluble oils there are water soluble mediums to be used with them.

Painting surfaces: (any of the following are good):  We will be focusing on quick studies so a number of smaller sizes will be useful.  I suggest cheap panels (up to 10 6”x8”, 10 8”x10” or  9”x12” etc. up to  a few 16”x20”)  i also suggest a canvas pad (Dick Blick or Fredrix is good)   Cut sizes you want and tape them to gatorboard.  Prepare about 20 before hand to save time.  Also some stretched canvas can be good as well as gessoed hardboard or Blick canvas pad where you can cut any size you want (as well as tape to attach these to board)

Disposable palette or, much better a palette box with a lid if your easel does not include a pant mixing area.

Kleenex or Paper towels and some rags

Brushes:

Bristle: flats, some filbert (#10, #8,#6, #3)  and maybe a  small round.

one or two synthetic sable can be useful, # 10, #

Palette knife

“Viewcatcher” or two small pieces of cardboard with small windows cut in them of the proportions 4x5 and 3x4 for visually framing what you see.  I also used a homemade view finder with a plexiglass window marked with a grid dividing the space in thirds.  I have two, one for 3x4 proportions and one 4x5.  I suggest also one 2x3.  these will be very useful.  You may be able to find these on line as well.

Portable field easel:  this is essential and it is important that you have something that is light and easy to set up.  There are many different kinds available.  “Art Box”, “pochad”, or a “Julien” type are some common ones.  There are many others.  Don’t spend a fortune on an easel until you know what you like.  The Julien HALF EASEL is the most economical for what you get but a little too heavy for travel abroad.  Though I have used one for years I now find that they are not terribly practical.  Do NOT get a Julien FULL easel as it is too heavy even for local work.  I use an artbox which I highly recommend (artboxandpanel.com ).  They are also fairly easy to make.  Check on line for instructions and tips.

Useful:

Sun hat

Sun tan oil

Art guard cream

Sketch pad, pens and soft pencils

Soft charcoal (thin pieces)

Latex or nitrile gloves

Bug spray - ticks!!