Mastering Atmosphere and Light
With Ron Rencher
To Register Call Jane 435-313-5008
“Nature and the living elements of nature have always been my source of inspiration as an artist. My preference for the subject matter is the landscape, to which I go for inspiration and knowledge, and which I find to be more challenging than figurative or still life subjects.
I desire for my art to convey the beauty of nature to the viewer, to raise that viewer’s awareness and appreciation of the natural world, and the spiritual connection that we all have to the world we inhabit. As a result, I hope to bring realization to the viewers of their own inner beauty, and the fragility of the earth, and how intertwined our relationship with nature really is.”
Ron was born in 1952 in St. George, Utah. The summers of his youth were spent on the family ranch, The Broken Arrow near Pine Valley, Utah. His first artistic stirrings came early in life when, at the age of twelve, his mother gave him the paint box used by his deceased father.
Ron’s interest in art continued through his formal education when he earned a B.A. in Fine Art from Southern Utah University in 1975. In 1987 he moved from Utah to Taos, New Mexico where he experienced the personal and artistic growth that helped to form his philosophical and stylistic foundations.
A boost to Ron’s career came in 1997 with an invitation from The Plein Air Painters of America to be a guest artist at the organization’s annual show and sale in Catalina Island. The next year, 1998, Ron was voted by the membership of The Plein Air Painters of America to become a signature member of that organization, an honor bestowed on few due to the limited number of signature members allowed.
The artist’s accomplishments include: A featured segment in the PBS series PLEIN AIR: Painting the American Landscape, which began airing in the Fall of 2007; inclusion in the books: ENCHANTED ISLE, A History of Plein Air Painting in Catalina Island, PAINTERS OF UTAH’S CANYONS AND DESERTS, and ART OF THE NATIONAL PARKS due for publication in mid-2013; Invited to participate in the exhibition, Zion: A Century Of Sanctuary, and the accompanying catalog; annual participation in the prestigious invitational show, Maynard Dixon Country; featured articles in Art of the West, American Artist, and the Artist’s Magazine; and numerous awards and honors.
Ron, and his wife Carlene Reeves, who is also an artist, maintain a home and studios in Canyon Lake, Texas.
Believe it or not, when we are painting any subject, we are painting air!
More specifically, we are painting the effects of atmosphere on the landscape. These effects influence values and colors, and color temperature. If an artist aspires to become a proficient landscape painter, the best way to learn to paint these subtleties is by going out on location. One will never master the beauty of nature by working from photo images. Nature will reveal her secrets only when she is
engaged in direct communion with the artist in a personal dialogue
which is unique to everyone.
This class will focus on developing a sensitive eye to these subtleties. I
will also guide the student in designing a good value structure and composing shapes for a strong visual statement that captures the eye of the viewer. Eye movement, focal point, selection of subject and editing, and brushwork will be discussed and demonstrated. Students can expect demonstrations, group and individual critiques, and a great deal of personal attention. Be prepared for hard work and inspiration!
Workshop Supply List
Phone: (830) 935-3386, or 481-9500 (cell)
WORKSHOP MATERIALS LIST
(If you have a good supply of materials and equipment, don’t feel the need to buy new stuff. However, review this list and get what is here that is not in your supplies.)
PANELS/CANVAS: 6 X 8, 8 X 10, 9 X 12,10 X 12
It is strongly recommended that you use these sizes in the workshop, not larger sizes. I use 1/8” gessoed panels (1/8”mdf or masonite) that you make these yourself, or buy. You can also gesso multi-media paper.
SKETCHBOOK: A small (6x8) sketch book, a 6B pencil, Kneaded eraser,
Prismacolor premiere felt brushes, optional, (with two tips) in gray values 20%, 50%, 70% and black.
VIEW FINDER: Make a viewfinder out of black or gray mat board, or order from: View Catcher, 888-834-6165, or Art Supply Warehouse, et al.
GRAY SCALE & COLOR WHEEL: Gray Scale & Value Finder, and a small 4”Color
Wheel from Art Supply Warehouse (ASW).
BRUSHES: Hog bristle, good quality Flats or Filberts. Utrecht or Robert Simmons has a good value bristle, buy their top of the line in Nos 4, 6, 8 & 10, and a small script liner, or #1 or #2 sable/kolinsky round.
PAINT ERASER: This is rubber tipped on both ends, different configurations available. Get one with a flat chisel type end, pointed on the other end.
PAINT: A limited palette* of:
Cadmium Yellow (pale or lemon) Cadmium yellow medium Cadmium red light
Indian Red (Gamblin or Grumbacher) (Optional) Ultramarine blue
Cadmium Orange Titanium** white (buy a good quality white)
Alternate set of primaries (not required):
Yellow Ocher, Cerulean Blue, Quinacridone Red
* I use Gamblin, W&N, and Rembrandt, primarily.
** Buy a white that does not have zinc, if possible. Studies have shown zinc to cause cracking.
PALETTE OR PAINTING KNIFE: 1-1/4” or 1-1/2”.
PALETTE: If you are using a French easel you will need a portable palette. You can use a piece of non-glare glass, or buy a folding palette such as
Easel Pal from Artisan Santa Fe. If you are using an Open Box M, Guerilla Box, Easy L, etc, the palette is built in.
OUTDOOR SKETCH BOX, PORTABLE FIELD EASEL, FRENCH EASEL, POCHADE BOX, OR OPEN BOX M, or SOLTEK
ODORLESS THINNER (Gamsol, or Turpenoid)
LEAK PROOF BRUSH WASHER 8 oz size. You can use a leak proof sealable plastic bottle at least 8 oz.. Do not use odorless thinner from the hardware store!!!
PAPER TOWELS OR RAGS
GLOVES (optional) Nitrile gloves from Lowe’s paint dept., or your pharmacy
TRASH BAGS, OR GROCERY BAGS FOR USED TOWELS.
DRY BOX (WET PANEL BOX):
You will want a dry box, this is a lidded box with slots for carrying wet paintings done on panels. I recommend Ray Mar because of its light weight.
If you are painting on 1/8” panels be sure to get the wet panel box that is sized to accommodate panels not stretched canvas, and vice-versa.
UMBRELLA : Get the kind that is made to attach to a French easel, or a small rain umbrella in a neutral color.
Get a package of Mini stretch cords from WalMart (for fastening umbrella to easel.
MISCELLANEOUS: Sunscreen, water bottle, wide brim hat, sturdy shoes, dark shirt, an extra bottle to dump your thinner in at the end of the day to recycle the next day.
BOOKS TO READ:
THE ART SPIRIT by Robert Henri; HAWTHORNE ON PAINTING by Charles Hawthorne; CARLSON’S GUIDE TO LANDSCAPE PAINTING,
John F. Carlson, (This one is great as a text book on landscape painting); THE COMPOSITION OF OUTDOOR PAINTING,
by Edgar Payne, (more advanced than Carlson’s book, but excellent); ED WHITNEY’S GUIDE TO WATERCOLOR, good for Principles and design; ART and FEAR, by David Bayles and Ted Orland. Read any
other books that inspire you.
SOURCES: Utrecht, Art Supply Warehouse (ASW), Open Box M, Ray Mar,
Cheap Joe’s, Dick Blick, and etc.