As a firm believer in “you learn to do by doing”, I will help you find your own voice, develop your own “eye”, rather than simply show you a technique or an approach to copy.
I will encourage you to express your own vision and make suggestions to help you improve your work and achieve your goals as an artist.
A painter with a contemporary eye and a traditional hand, John Farnsworth has been a full-time professional artist for over fifty years. His works are in private and corporate collections here and abroad. Since the 1960's, he has worked in acrylic, oil, and watercolor using only the primaries, red, yellow and blue, since 1988. His subjects range from people to places, from still-life to animals. He is represented in New Mexico by Sorrel Sky Gallery, Santa Fe, DAFA, David Anthony Fine Art, Taos, and by Pierson Gallery, Tulsa, Oklahoma.
THE (UN)LIMITED PALETTE
One day workshop
In this workshop you will learn:
- Color Theory
- Color Mixing
- Colors and Mediums that work well together.
Two or three day workshop
In addition to the above, we will cover
- What to paint
- Where to find inspiration
- Learning from others, past and present
- How to develop your own style.
Five to seven day workshops
In these extended workshops we will elaborate and expand on the lessons already introduced, and delve more deeply into the methods and techniques best suited to your individual interests and talent.
Two week workshops are occasionally available. Call for information.505 603-4680
PAINTING WITH JUST THE PRIMARIES:
- (Plus WHITE, in oil or acrylic.)
The monitor you are reading this on is capable of making 16.8 million colors using just red, green and blue light. With three pigments, one Blue, one Red, and one Yellow, we will be able to do even more.
The lessons you learn in this class will apply equally to any subject you choose to paint.
Whether you work in oil, acrylic, or watercolor, this system will simplify, clarify and enable your color mixing.
I paint landscapes, skies, still lifes, people, animals, and colorful Hopi Kachinas using this three pigment system, and I always have the color I need, without having to search through a crowded palette or make an emergency run to the art supply store.
Let's say, for instance, you decide to paint a black horse. Do you struggle with whether to use Lamp Black, Coal Black, Brand B Black, etc? Blue and red will make a deep, dark black. A tiny bit of yellow will make it even blacker. More yellow and more red will warm it and take it toward brown. White will temper it and cool it.
My (Un)Limited Palette is simple, effective, and inexpensive.
Buy only the paints you need. Use all the paints you buy. No more mud. No more confusion. You'll learn to get clean, clear, translucent grays. You'll get deep, velvety blacks or hard, shiny blacks, and subtle changes within your blacks. Your blacks will be vibrant and varied. You'll learn how easy it can be to mix colors that are clean and pure, natural and complex, yet easily mixed.
Shopping can be fun, especially in an art supply store. But it can also be confusing. Are you sometimes bewildered by the giant array of colors, with their exotic sounding names and the inconsistency between brands? When you get them back to the studio do you often find that you still don’t have a color called Backlit Chestnut Horse on a Lightly Overcast Day in August? And when you try mixing, say, Burnt Sienna with Payne’s Gray, and Aureolin Yellow, with a little Manganese Blue and eight or nine other colors to get that effect you’re after, do you end up with a muddy mess? What are the effects of mixing vegetal dyes with earth colors and with chemically derived colors? What about light-fastness and fading?
If you are just starting out, this class could save you years of confusion and difficulty.
Already an accomplished painter? Are you frightened by the prospect of giving up old habits and old favorites to try something new. Don’t be. This class will open your eyes to easier, quicker and surer ways to express yourself and the world around you.
This class is about color, and applies equally to oil, watercolor, and acrylic.
It's the particular pigment that the color is made of that matters, not the brand name.
These are the pigments I use for painting in acrylic, or watercolor:
- THALO (Pthalocyanine) BLUE
- NAPTHOL RED (Napthol PR-112) Read the fine print on the tube. There are other Napthol Reds. They won't work. This is the one, PR-112, that is a true red, and does not lean toward the orange or the purple side of the spectrum.
- CADMIUM YELLOW MED
- TITANIUM WHITE (Alkyd) I prefer the alkyd version as it is faster drying, and recommend it for this class. (In oil and acrylic, not needed in watercolor.)
These are the ONLY colors you will need. In fact, any additional color will simply introduce confusion into the mix and defeat the purpose of the course.
I use M. Graham oils, exclusively, because they are made using Walnut Oil instead of Linseed Oil, and are therefore solvent free. This means they can travel under current restrictions, and do not pose the health hazards inherent in solvent based oils.
I recommend you start using M. Graham. We'll all breathe better in class and in our studios!!!
M. Graham oils are also less prone to yellowing with age than those containing linseed oil. I use only their faster drying Walnut Oil (Alkyd) as both medium and brush cleaner. (If you are letting your brushes rest for more than a day, you may wish to use the straight walnut oil as a brush cleaner. Use either one to clean paint off your hands, then soap and water.
I am very happy with this combination, and have used it exclusively for over twenty five years.
I also appreciate the fact that I can find all three of my preferred primaries under one brand name. This makes shopping for paint much simpler and faster.
I have used just about every kind and size of brush, and now paint oils in sizes from 6 x 6 to 36 x 72 inches, exclusively with Dynasty Golden Nylon round number 5 brushes (above). I buy them 100 at a time.
All of the above will be provided in the cost of the workshop.
(Note: I have recently started experimenting with other, larger brushes for paintings, 40 x 40 inches and larger.)
I use the same pigments as above, minus white.
I have some very expensive brushes, which I almost never use, with the exception of my DaVinci Travel Brush (in the palette lid below).
I also use a very inexpensive basting brush (on the left). For travel, especially, I like the water reservoir brushes.
Use the brushes you're most comfortable / familiar with. Everything else you will need will be provided.
I haven't used acrylics for several years, but when I did, I used Golden flow acrylics, the ones in plastic squeeze bottles.
If you would like me to speak, demonstrate, or teach in your area, for an artist’s group, a school, or a museum, give me a call at 505 603 4680, and let’s see what we can put together. Or drop me a line at firstname.lastname@example.org, with workshops in the subject line.
Past workshops have varied from week-long camping trips in Arizona’s Canyon de Chelly to Luxury accommodations in France, Mexico, Spain and Peru.
"Who dares to teach must never cease to learn." (John Cotton Dana)