Facilitated by: Tony Conner

Fee: $300

Class size limited to 14

​

Sign up by contacting Linda Masten: lindamarymasten@gmail.com

Non-Refundable Fee after July 15, 2024

 

Description:

Join Vermont artist Tony Conner for a three-day watercolor landscape painting workshop.  Above all, you’ll experience a workshop that is both fun and informative. It is Tony’s earnest desire to help every student to grow and learn quickly. Fundamental skills are important, particularly for a tricky medium like watercolor, so there will always be a focus on the fundamentals, presented in a way that makes them simple and understandable. 

 

A typical morning session includes an instructor demo focused on the theme and topic of the day. Afterwards we’ll move on to individual

work. During this time, Tony will work with each student providing individual, one-on-one advice and guidance.

 

After a lunch break, there will be another quick demo to address ideas and issues from the morning session. Painters have the chance to either

continue work begun in the morning or start a new composition. As in the morning, Tony will circulate among the students and provide help

and advice as needed.

 

Daily Theme/Topic

Workshop Day 1 – Trees In The Autumn Landscape

Workshop Day 2 – Peak Foliage:  Managing Bright Color

Workshop Day 3 – The Past Peak Landscape

 

Biography:

Tony Conner’s path as a self-taught artist has followed a serious and active course that has been dedicated to a single medium – watercolor- and an apprenticeship to its unique disciplines.  While primarily expressing and interpreting the landscape and seascape, his paintings reflect an interest in a variety of subjects. Most of his work is done from direct observation and completely focused on the quality of light itself.  Whether it is a landscape,  seascape, still life or figure model, his attraction to a particular scene or viewpoint is based on the pattern of individual objects, contrasts of color, value, or intensity and, most of all,

the quality of light at a particular time.

 

Tony’s paintings are widely exhibited in juried, group and solo exhibits.  His work has been included in a number of national juried exhibits including the New England Watercolor Society National Biennial, Adirondacks National Exhibition of American Watercolors, and the Hudson Valley Art Association Annual National Exhibition, among others.

 

Tony is a Signature Member of both the New England and Vermont Watercolor Societies and an Artist Member of the North Shore Artists Association. He is profiled in “100 Artists of New England”, Schiffer Publishing, 2011, “Best of Artists’ – American Landscape”, Kennedy Publishing, 2012, and in “Three Who Nurture The Arts”, Southern Vermont Arts & Living Magazine, Summer 2013 and “Learn From What Isn’t’ Working”, Plein Air Magazine Aug/Sep 2015.

 

A native of Winchester, Virginia, Tony currently works from his studio in Bennington, Vermont.

Please visit his website at: tonyconner.com to learn more.

 

Workshop Materials List:

Everyone should bring the paint and brushes they are most comfortable with. But, I cannot overstate the importance of using professional quality materials. Watercolor is tricky enough without handicapping oneself with inferior materials.

 

Highly Recommended Watercolor Supplies and Materials

• Paper:  ARCHES 140LB COLD PRESS PAPER – there are few watercolor papers that are as helpful as this one. Inferior paper is likely to encourage inferior results.

• Watercolor Paint: Tubes of professional quality paint: We will be mixing our greens so a variety of blues and yellows are needed. I’ll be using this specific set of paints during the workshop.

  • Ultramarine Blue

  • Cobalt Blue

  • Cerulean Blue

  • Indanthrene Blue

  • Alizarin Crimson

  • Cadmium Red / Cad Red Light

  • Quinacridone Burnt Scarlet

  • Cadmium Yellow Light

  • Aureolin Yellow (or one of these – Lemon, Hansa, or Azo Yellow)

  • Quinacridone Deep Gold

  • Raw Sienna

  • Burnt Sienna

  • Burnt Umber

• Brushes: I paint mostly with Round Brushes but use flats as well. The first and most important recommendation is to bring only a few brushes and these should be your largest sizes. For most of your painting you need nothing smaller than #12 in rounds or 1” in flats. Recommendations:

  • Rounds : two or three size 12, 14, 16, 18 and/or larger

  • Flats : at least a 1” wide flat; 1 ½ or 2 is even better 

  • For detail and finish work: One and only one of each - #3 or 4 round, rigger, ½” or ¼” flat