Vermont Workshop

I could use a few more students for my workshop at the Southern Vermont Art Center, on March 1st through 3rd. I only have a few students signed up, so if you would like to be in a small workshop and receive lots of personal attention here is your chance. Below is the course description from their site.

Stapleton will lead an outdoor plein air class emphasizing how to create better compositions in your paintings. Learn how to use design to bring home more exciting paintings rather than matter-of-fact inventories of the scene before you. Special emphasis will be placed on painting snow (which is not white!) and working effectively and comfortably outside in the winter. This is not an outward bound class! Stapleton gets cold easily, but has learned how to work happily in winter weather. Provisions will be made for those with cold feet that need to take a warm up break, and no one will be expected to freeze for their art! Stapleton will do a morning Art demo, explaining the methods he has learned in his thirty years of painting outside on location. In the afternoon the students will make their own paintings while individual instruction will be given to each of the participants. The afternoon will be followed by an invitation to dinner for all the workshop students at which time the art of painting and the business of art will be discussed and diagrammed on napkins… Comparisons will be drawn from the works of great master landscapes of history, and ideas that have been handed down to us from those artists will be demonstrated and explained. This class is open to any level of expertise. Minimum 6/Maximum 12 students. Download the materials list HERE.

Here is where to sign up.

Various things

View from the Inn on Sunset Hill.

Here I am again! See, still alive.I haven't blogged for a while. I took a vacation. I will begin again, but sporadically I think. After 975 posts in a row I REALLY needed a break!
I have been absent for a while and I have received e-mails asking if I am OK, not dead etc. I am fine, beginning to regain my bearings after a few trying months. I am getting some art made and it has been nice to take the time off from the blog and just hunker down and work. I do have some ideas for a few posts and I am sitting on a few stored readers questions. I would like to resume the Encyclopedia of Dumb Design Ideas too. There are more recently discovered Dirk VanAssaerts paintings .

Snowcamp begins this weekend and the following two. I am looking forward to that. I have been traveling and holed up to work for a while now, it will be nice to be out and teaching again. I am looking forward to seeing some of you again and meeting the rest of you for the first time. I intend to work you 12 hours a day. Can you keep up with me?

I am also doing an outdoor painting workshop March 1st through 3rd for the Southern Vermont Art Center, that should be fun. It is beautiful country over there. I also am teaching a seascape-design workshop at the New Hampshire Institute of Art in Manchester. That's March the 23rd through the 25th. Further out there is Nashville, Tennessee and then Rolling Fork, Mississippi.

There are still a few spaces in two of the workshops, if you want to come, sign up over in the sidebar. Here is a materials list if you decide to come. If you want to know what I use to paint outside, this is the kit.

Thanks to Take-it -easel for the new Stapleton Kearns Signature model easel! I will enjoy having a new Gloucester easel. Counting antique models I must have about six of the things now. The new model has a new leg release system and I am excited to try that out. It looks like a major improvement. The complicated wire release mechanisms always were the only thing that could go wrong with a Gloucester easel and now that should be solved. Go to my side bar and find the link to their site. I do not get a kick back on these, I want Take it easel to survive and prosper as they are an essential part of my equipment. If you are using the Chi-Com version you should step up to the real thing. The difference is enormous, handcrafted in Vermont from American maple, the Take-it-easel is a lifetime piece of equipment. I try to stay away from Chinese art materials most of the time. Their quality control is abysmal. Besides, don't you remember that unpleasantness at Chosin reservoir?

Below I have reprinted a previous post that will I hope be useful to any of you planning to work outside this winter. I will have a new One soon!

An Aldro Hibbard of Rockport Massachusetts

Every year do a post on how to paint outside in the winter. Here is this years. Some of it is from previous posts, however I am getting so many questions about it that I need to cover it about this time every year. If you are a plein air painter and you only work outside in the summer you are only working part time. It is really not too hard to get your act outside in the snow and it is a great subject matter. It lends itself to being designed, and it is not too green.

WINTER IS THE BEST TIME TO PAINT OUTSIDE!

I don't change my palette to paint snow, but I do whip my white. That is; I make a donut shape of white on my palette and throw a shot of medium in the hole. Then I whip it up with my palette knife, I may have to do this to my ocher or another color sometimes too. But I have worked out side at 10 degrees below zero and the paint will still work, It can get a little stiff, almost like joint compound, but I don't really mind that. Somehow it seems to adapt to the kinds of things that I paint in the winter. Bare branches and trees are easier to pant with the cold paint.

If your easel has any wingnuts on it, you had better bring a pair of pliers along. Your hands may get to cold to turn them and at the end of the day an easel that you can't collapse can be a big problem.

It is also best to paint in pairs. If you fall down and break a leg back in the woods it is nice to have some one else along. It happened to a friend of mine a few years ago along a frozen stream in Vermont. He would have frozen to death out there had he been painting alone.

Here is a list I send to my workshop attendees that tells what I use outdoors for a palette and a little about my boots.

Here are the materials you will need for my workshop. Most of you are not in my workshop of course. It would be huge if you were. We would need about five Greyhound buses. But look at the materials list here and you can get an idea of what I think you should have, at a minimum, to paint on location.

Because it is winter painting you will need to have good boots, I recommend these.

Cabela's® Trans-Alaska™ III Pac Boot

Every other part of your clothing needs for cold weather painting is negotiable, this works and that works. However when it comes to footwear I think most of what the average person thinks of as adequate gear won't cut it. Boots that might be OK for shoveling the walk or taking a winter hike will not allow you to stand in snow or on ice for hour after hour without getting cold feet. You have to keep your feet warm.

. Every other part of your clothing needs for cold weather painting is negotiable, this works and that works. However when it comes to footwear I think most of what the average person thinks of as adequate gear won't cut it. Boots that might be OK for shoveling the walk or taking a winter hike will not allow you to stand in snow or on ice for hour after hour without getting cold feet. You have to keep your feet warm. Your Sorels will not cut it. I would impress on you that you think your boots are OK, but they will probably not be. You are going to ignore this and then your feet are going to be cold and you will be unable to work. "I won't be there for you to whine to, but if I was, I would say, Hey, I warned you!"

If you can keep your feet warm standing out painting everything else is relatively easy. There are lots of good parkas and hats, snow pants and suits etc. But it doesn't seem to me that there are many boots that are as serious as these. I have lent mine to other guys who then bought them the next day. If you are worried about getting cold painting, buy these boots and everything else is just a matter adding layers of clothing. But if your boots don't cut it you can't add another pair.

. There are a lot of different winter boots available but I think these are the ticket. Cabelas is a reasonably priced gear merchandiser mainly aimed at the hunters, rather than extreme sports, elitist gear freaks.
I think a woman could probably find boots of this sort there also.

If you can keep your feet warm standing out painting everything else is relatively easy. There are lots of good parkas and hats, snow pants and suits etc. But it doesn't seem to me that there are many boots that are as serious as these. I have lent mine to other guys who then bought them the next day. If you are worried about getting cold painting, buy these boots and everything else is just a matter adding layers of clothing. But if your boots don't cut it you can't add another pair.

Here is a link to the page on Cabelas site where you can find them.
Many of you will decide the boots you already have are fine, and they might be, come to the workshop in them and we will see. But if you absolutely want to have warm feet, heres what you need.

You will need a warm parka of the ski sort or a snowmobile suit. You can by a one piece outdoor work suit at Wal-Mart very inexpensively that seem to be fine. Under that I recommend a wool sweater or poly fleece shirt . I wear insulated snow pants made for snowboarders but there are lots of sorts of snowpants made for snowmobilers and other winter sports, under that polar weight long underwear, Cabelas is good for this.I wear inexpensive thinsulate lined gloves that you can buy at a Wal-Mart or hardware store cheaply. I have a hat with a brim over which I pull a stocking cap when it is very cold. There is no reason for you to be cold painting outside. It is simply a matter of getting the equipment right.

You will need a a french easel, a pochade ( pronounced "pochade") box and tripod, or a Gloucester easel. Aluminum collapsing easels and little wooden tripod easels are generally not steady enough and they won't hold your palette. I don't recommend them.

PAINTING IS HARD ENOUGH WITH THE BEST OF MATERIALS!

In your paintbox you will need:

Titanium White
cadmium yellow medium or light
cadmium red light
burnt sienna
either cobalt, Prussian, or pthalocyanine blue
yellow ochre
ultramarine blue
Permanent alizirin or quinacridone red
viridian or permanent green deep

you also might want, but won't require,

Ivory black or
cobalt violet

a palette of some sort, most easel setups include a palette.

a medium. I like Liquin or Galkyd but if you like an oil and varnish medium that is fine too. You may already be using a medium at home, bring that. Also you will need a top from an olive jar or a small oil cup to put it in.

mineral spirits or turpentine, and a tuna fish can to put that in.

A roll of Bounty or Viva paper towels, all others are inferior. Also a grocery store plastic bag for them after use.

A selection of flat brushes, a couple of #1's, several #4's, a #8 or 10 and a short handled rigger, synthetic or sable, about a #4 . Also a leaf shaped palette knife.

You will need a hat with a substantial brim, a baseball hat works well. I carry a container of Goop, you can get that at Wall Mart or an auto supply store, to use cleaning your hands.

A fine cigar or two, possibly a maduro, box pressed if possible, no White Owls or plastic mouthpieces please.

Some people like to have an umbrella to shade their canvas, I don't use one, but you might.

A camera, you will want to get a shot of what you are painting because it may save the project later in the studio.

Acadia workshop

ANNOUNCING A FALL WORKSHOP IN ACADIA!


I will be holding a three day workshop at the Bass Harbor campground in Bass Harbor, Maine. the 25-26-27th of September. That's Saturday-Monday. We will paint outside and I will teach beginners to experts the art of outdoor landscape painting. The class size is limited to ten.

The Bass Harbor campground is on the "quiet" side of the island and is a short walk from the Bass Harbor light. There are restaurants and other amenities close by, including a motel if you don't want to rough it. There are tenting sites and simple cabins available and it will be very inexpensive. I know the cost of the workshop plus lodging as kept some of you from taking my workshops and I have been asked whether camping was available. So if you want to take a workshop as affordably as possible, this is your chance.


Part of the workshop experience is always the social scene, this should be particularly fun as we can build a campfire at night. Camping with the artists should be a lot of fun

Acadia should be starting to color up with autumn and the days should be warm and the nights chilly, but easy camping weather. The park will be fabulous that time of year. If we do get a rainy day I will teach seascape and coach the students on ways to improve their paintings in the studio.

The cost of the workshop is $300. I require a $150 dollar deposit which is (non refundable), the balance to be paid at the event. Here is a link to where you can sign up ( This will become operational in a couple of hours from this posting).
Reservations at the Bass Harbor campground can be made here. Make sure you let them know you are coming for my workshop and they will give you the off season rate and a bundle of free firewood, and put you with the rest of us.

Materials and clothes for a winter workshop or painting trip

Here are the materials you will need for my workshop. Most of you are not in my workshop of course. It would be huge if you were. We would need about five Greyhound buses. But look at the materials list here and you can get an idea of what I think you should have, at a minimum, to paint on location.

Because it is winter painting you will need to have good boots, I recommend these.

Cabela's® Trans-Alaska™ III Pac Boot

Every other part of your clothing needs for cold weather painting is negotiable, this works and that works. However when it comes to footwear I think most of what the average person thinks of as adequate gear won't cut it. Boots that might be OK for shoveling the walk or taking a winter hike will not allow you to stand in snow or on ice for hour after hour without getting cold feet. You have to keep your feet warm.

Here are the sort of boots I recommend for painting outside in the winter. There are a lot of different winter boots available but I think these are the ticket. Cabelas is a reasonably priced gear merchandiser mainly aimed at the hunters, rather than extreme sports, elitest gear freaks.
I think a woman could probably find boots of this sort there also.

If you can keep your feet warm standing out painting everything else is relatively easy. There are lots of good parkas and hats, snow pants and suits etc. But it doesn't seem to me that there are many boots that are as serious as these. I have lent mine to other guys who then bought them the next day. If you are worried about getting cold painting, buy these boots and everything else is just a matter adding layers of clothing. But if your boots don't cut it you can't add another pair.

Here is a link to the page on Cabelas site where you can find them.
Many of you will decide the boots you already have are fine, and they might be, come to the workshop in them and we will see. But if you absolutely want to have warm feet, heres what you need.

You will need a warm parka of the ski sort or a snowmobile suit. You can by a one piece outdoor work suit at Wal-Mart very inexpensively that seem to be fine. Under that I recomed a wool sweater or poly fleece shirt over a cotton shirt. I wear insulated snow pants made for snowboarders but there are lots of sorts of snowpants made for snowmobilers and other winter sports, under that polar weight long underwear, Cabelas is good for this.I wear inexpensive thinsulate lined gloves that you can buy at a Wal-Mart or hardware store cheaply. I have a hat with a brim over which I pull a stocking cap when it is very cold. There is no reason for you to be cold painting outside. It is simply a matter of getting the equipment right.

You will need a a french easel, a pochade ( pronounced "pochade") box and tripod, or a Gloucester easel. Aluminum collapsing easels and little wooden tripod easels are generally not steady enough and they won't hold your palette. I don't recommend them.

PAINTING IS HARD ENOUGH WITH THE BEST OF MATERIALS!

In your paintbox you will need:

Titanium White
cadmium yellow medium or light
cadmium red light
burnt sienna
either cobalt, Prussian, or pthalocyanine blue
yellow ochre
ultramarine blue
Permanent alizirin or quinacridone red
viridian or permanent green deep

you also might want, but won't require,

Ivory black or
cobalt violet

a palette of some sort, most easel setups include a palette.

a medium. I like Liquin or Galkyd but if you like an oil and varnish medium that is fine too. You may already be using a medium at home, bring that. Also you will need a top from an olive jar or a small oil cup to put it in.

mineral spirits or turpentine, and a tuna fish can to put that in.

A roll of Bounty or Viva paper towels, all others are inferior. Also a grocery store plastic bag for them after use.

A selection of flat brushes, a couple of #1's, several #4's, a #8 or 10 and a short handled rigger, synthetic or sable, about a #4 . Also a leaf shaped palette knife.

You will need a hat with a substantial brim, a baseball hat works well. I carry a container of Goop, you can get that at Wall Mart or an auto supply store, to use cleaning your hands.

A fine cigar or two, possibly a maduro, box pressed if possible, no White Owls or plastic mouthpieces please.

Several canvases, or panels to paint on. Please no cardboard artist boards they are floppy and impermanent dreadful things. Gessoboard is nice, sourcetek panels are good, clayboard is too absorbent. I think a 16 x 20 is the ideal size. Small canvases bring an added complexity to painting as you need to miniaturize nature to go on them. Don't bring anything larger than an 18 x 24 unless you are a pro.

Some people like to have an umbrella to shade their canvas, I don't use one, but you might.

A camera, you will want to get a shot of what you are painting because it may save the project later in the studio.

I guess that's it, I will see you at 9:00 in the morning in the lobby of the Inn. I will probably go up the night before so as to be ready to rock and roll first thing in the morning. If you are coming from the south of Boston be advised that traffic northbound from Boston going up 93 on a Friday night,to the White mountains can be heavy. If you can go up early in the day, before about 2:00 and you can avoid it. It is not impossible in the early evening but less fun. Also driving up in the dark you will miss seeing a lot of the mountains. The Inn is above Franconia which is the first town past Franconia notch on the far less touristed siude of the mountaians. You will pass Cannon Mountain ski area and go down the hill beyond it to get to Franconia which is an exit off of 93. The highway is virtually always open.

Snow Camp 2

Here are a couple more shots I took the other day at the Sunset Hill House

I have had a long day. I visited my little sister and her husband for Thanksgiving and we ate and ate . We had turkey (did you know there is a chemical in turkey that makes you thankful?) and stuffing and three kinds of pie. I took my own Moxie as I knew I couldn't count on them to have it. Now I am exhausted. So tonight's post is going to be a plug for snow camp and then, maybe I can find one small thing that I can say to be useful to those of you who are unable to come. Every night when I write the blog I always ask myself, have I said something that will be useful to the readers?

The details of the inn package are worked out and on the page for reserving the workshop, that's here.
The only thing I missed before is that the inn is including a three course meal for all of us in a private dining room that Sunday evening. When I do workshops, if I can, I like to do a total immersion thing. That is, paint all day and then get the whole class together for dinner so we can talk art and experience the camaraderie of the other artists. I think it is possible to squeeze a lot more in that way. So when I do a workshop we generally eat, sleep, and breathe art for the entire time. Being in an inn up in the mountains is the perfect way to do that. I was up there again the other day, scheming with Nancy the innkeeper about how best to do the workshop and I think I have really broken the code this time. It is just such a perfect setup. The class is half filled already, so if you want to sign up , now would be a good time. I think it will fill quickly as I am deliberatly limiting it to ten students.

Now lets see, something useful, but not too ambitious, How about this...........

Opposite colors, or compliments as they are called, have opposite effects depending on how they are presented together. They can either make their opposite brighter, or more grave, here's how. If you mix two compliments, you get a gray color, but if you put two compliments side by side, they each look their brightest. So always be aware of whether a colors opposite is already, or should be, introduced into a passage to accentuate that color. Conversely if you want to keep a color from speaking too loudly, and hold its place in the choir, rather than sing a solo, you add its compliment. So a colors compliment is the key to making it both brighter or grayer!

Watch that you are managing compliments intentionally rather than having accidental compliments control your color for you. Color is a great servant but a lousy master. There.

Snow Camp!

Tonight I am announcing the snow painting workshop. It will be here, at the Sunset Hill House near Franconia Notch in the White mountains of New Hampshire. The views are out of this world and the Inn is going to be a great place to do a workshop. Here is a picture of the Inn with the mountains behind it. Here is their web site.

We can walk out the backdoor of the inn and paint on their enormous grounds with views of the whites and we can run back inside by the fire and drink coffee if our feet get cold. If we want to leave the inn there are great locations all over the area. This is sacred ground for American landscape painting, Bierdstadt and McEntee and most of the Hudson river school once painted in this area. The workshop will begin on January 30 and end on the evening of February the 1st. That's three days. I am charging $300.00 per person and I intend to limit the class to ten this time.

I have been able to arrange with the inn for a discounted rate for the class, that is $278.00 for the Saturday and Sunday nights lodging. That will include breakfasts at the inn. So the whole show comes in at just under six hundred dollars for the weekends lodging and three days of instruction. This is a lovely, grand inn in the 19th century New England tradition. I think we should all be very snug and comfortable. Up there in the mountains I think we can count on plenty of snow.
If you want to attend the workshop click here and you will be able to make a a deposit of 150.00 to reserve your place in the class. E-mail me if you have any questions at stapletonkearns@gmail.com

I have been painting snow outside for more than thirty years and it is my favorite subject. I think snow is probably the thing I do best and I am looking forward to disclosing what I have discovered about painting it. Snow is of course not white. There are some logical step by step ways to approach the problems of painting snow.

2015 snowcamp

January 30 through February 1

Hi there. This is where you can sign up for my 2015 Snowcamp. This will be a three day workshop. Because of the demise of the Sunset Hill House in Franconia, this year it will be held at the Bartlett Inn in Bartlett New Hampshire. That is near Conway. They have experience doing artists workshops and I think it will be a great place to work.
The dreaded snowcamp can be extreme but it is always a lot of fun. You will do nothing but paint and sleep, well except for eat. This is an outdoor class. All skill levels are invited.


 The workshop will begin Saturday morning and end Monday evening. That's three days. I charge $300.00 per person, a $150.00 down payment and $150.00 final payment to be paid at the event. 
 Please understand this is a non refundable deposit. If you sign up I will hold your spot in the class for you, regardless of whether you are actually intending to come. That is what the deposit "hires" me to do and guarantees you will receive. So please don't sign up unless you are intending to take the  workshop.
 Each morning I do a demo and then in the afternoon the students paint and I run from easel to easel teaching each student individually. I have several painting exercises that will help build the students skills in landscape painting that I work in to the schedule. We meet for breakfast, paint all day and in the evening I lecture from the screen of my laptop.

The camaraderie is an important part of the workshop and we will all be good friends before the workshop is over. Snowcamp is a lot of fun, and I hope to teach you as much as I possibly can in the three days it runs. I can save you YEARS of screwing around! This is as intense an experience as I can make it and you will do little else but paint, eat and sleep while you are there. I will work you like a borrowed mule!

One of the important things I teach about snow painting is the opalescence color of snow. I will show you a system for creating the look of snow in light with broken color.  

Snowcamp always fills, so if you want to come, sign up. I will hold the class size to 12, but if there is enough interest I usually do a second session. 

The inn takes care of our lodging and provides breakfast and it is required that you stay there in order to participate. If you go to their web site or call them be sure to ask for the special rate they make for the workshop.

I have no idea why I can't seem to generate a paypal button that actually links. I have done so many before. So here is the fall back system. Call me at 603-216- 5559 if you want to come. I am in the Eastern time zone, so if you are calling me from Irkutsk remember that. I will fill the class in order of the receipt of calls.

Go to the website of the Inn and make your lodging reservations with them. Here is their phone number 603-374-2353.

Here is their website     http://www.bartlettinn.com/

Snowcamp 2014

Here's where you sign up for Snowcamp, January 18 through 20, 2014 ! Please understand this is a non refundable deposit. If you sign up I will hold your spot in the class for you, regardless of whether you are actually intending to come. That is what the deposit "hires" me to do and guarantees you will receive. So please don't sign up unless you are intending to take the  workshop. See you there!

The inn takes care of all of our needs and it is required that you stay there to participate. If you absolutely must stay off campus, a day rate can be arranged with the inn. All of the lodging and reservations can be made with the Sunset Hill Inn. If you go to their web site or call them be sure to ask for the special rate they make for the workshop.

The Inn has a full meal service for us and a bar and wine cellar. We are able to keep our equipment in the lower level of the inn so we won't have to drag our kit back to our rooms or sleep next to wet oil paintings at night.

http://www.sunsethillhouse.com/
Nancy Henderson, World's Happiest Innkeeper
Sunset Hill House
231 Sunset Hill Road
Sugar Hill, NH 03586
603-823-5522

Snowcamp Minnesota

Snowcamp Minnesota

Friday, March 9th through Monday the 11th

The workshop will begin Saturday morning and end Monday evening. That's three days. I charge $300.00 per person, a $150.00 down payment and $150.00 final payment to be paid at the event.
 Please understand this is a non refundable deposit. If you sign up I will hold your spot in the class for you, regardless of whether you are actually intending to come. That is what the deposit "hires" me to do and guarantees you will receive. So please don't sign up unless you are intending to take the  workshop.

The class is limited to twelve. So every one gets plenty of personal attention. Each morning I do a demo and then in the afternoon the students paint and I run from easel to easel teaching each student individually. I have several painting exercises that will help build the students skills in landscape painting that I work in to the schedule.

The camaraderie is an important part of the workshop and we will all be good friends before the workshop is over. Snowcamp is a lot of fun, and I hope to teach you as much as I possibly can in the three days it runs. I can save you YEARS of screwing around! This is as intense an experience as I can make it and you will do little else but paint, eat and sleep while you are there. I will work you like a borrowed mule!

One of the important things I teach about snow painting is the opalescent color of snow. I will show you a system for creating the look of snow in light with broken color.

Snowcamp 2013

 I am excited to be doing another Snowcamp this year. The workshop will be held January 26 through 28.  I really have a great time doing this. It has been my favorite event of the year ever since I started doing it. I have taught a lot of workshops, but with Snowcamp I feel like I broke the code. The scenery is fabulous, the inn is now adept at anticipating our needs and the food is good too. The inn keepers are now old friends and the inn feels like a second home to me now as I have been there so many times. The inn is informal and a little funky, here is a picture of the place below. How old New England is that?
 

 The workshop will begin Saturday morning and end Monday evening. That's three days. I charge $300.00 per person, a $150.00 down payment and $150.00 final payment to be paid at the event.
 Please understand this is a non refundable deposit. If you sign up I will hold your spot in the class for you, regardless of whether you are actually intending to come. That is what the deposit "hires" me to do and guarantees you will receive. So please don't sign up unless you are intending to take the  workshop.


The class is limited to twelve. So every one gets plenty of personal attention. Each morning I do a demo and then in the afternoon the students paint and I run from easel to easel teaching each student individually. I have several painting exercises that will help build the students skills in landscape painting that I work in to the schedule. We meet for breakfast and dinner, the inn provides us with sandwiches etc. for lunch so we don't lose much time from our work day.  Before dinner is served I do a slide show lecture on design and snow painting.

The camaraderie is an important part of the workshop and we will all be good friends before the workshop is over. Snowcamp is a lot of fun, and I hope to teach you as much as I possibly can in the three days it runs. I can save you YEARS of screwing around! This is as intense an experience as I can make it and you will do little else but paint, eat and sleep while you are there. I will work you like a borrowed mule!

One of the important things I teach about snow painting is the opalescence color of snow. I will show you a system for creating the look of snow in light with broken color. 

Snowcamp always fills, so if you want to come, sign up. I will hold the class size to 12, but if there is enough interest I usually do a second session.

The inn takes care of all of our needs and it is required that you stay there to participate. If you absolutely must stay off campus, a day rate can be arranged with the inn. All of the lodging and reservations can be made with the Sunset Hill Inn. If you go to their web site or call them be sure to ask for the special rate they make for the workshop.

The Inn has a full meal service for us and a bar and wine cellar. We are able to keep our equipment in the lower level of the inn so we won't have to drag our kit back to our rooms or sleep next to wet oil paintings at night.

http://www.sunsethillhouse.com/
Nancy Henderson, World's Happiest Innkeeper
Sunset Hill House
231 Sunset Hill Road
Sugar Hill, NH 03586
603-823-5522

Fall workshop September 23-24 25 2013

 Fall workshop September 23-24-25, 2013


I charge $300.00 per person, a $150.00 down payment and $150.00 final payment to be paid at the event.
 Please understand this is a non refundable deposit. If you sign up I will hold your spot in the class for you, regardless of whether you are actually intending to come. That is what the deposit "hires" me to do and guarantees you will receive. So please don't sign up unless you are intending to take the  workshop.


The class is limited to twelve. So every one gets plenty of personal attention. Each morning I do a demo and then in the afternoon the students paint and I run from easel to easel teaching each student individually. I have several painting exercises that will help build the students skills in landscape painting that I work in to the schedule. We meet for breakfast and dinner, the inn provides us with sandwiches etc. for lunch so we don't lose much time from our work day.  Before dinner is served I do a slide show lecture on design and snow painting.

The camaraderie is an important part of the workshop and we will all be good friends before the workshop is over. I hope to teach you as much as I possibly can in the three days it runs. I can save you YEARS of screwing around! This is as intense an experience as I can make it and you will do little else but paint, eat and sleep while you are there. I will work you like a borrowed mule!

The inn takes care of all of our needs and it is required that you stay there to participate. If you absolutely must stay off campus, a day rate can be arranged with the inn. All of the lodging and reservations can be made with the Sunset Hill Inn. If you go to their web site or call them be sure to ask for the special rate they make for the workshop.

The Inn has a full meal service for us and a bar and wine cellar. We are able to keep our equipment in the lower level of the inn so we won't have to drag our kit back to our rooms or sleep next to wet oil paintings at night.

http://www.sunsethillhouse.com/
Nancy Henderson, World's Happiest Innkeeper
Sunset Hill House
231 Sunset Hill Road
Sugar Hill, NH 03586
603-823-5522

Sunset Hill workshop 2013

Sunset Hill workshop for October 26 through the 28th.

I will email you a materials list after you sign up and add your name to the roster. If you have any questions about the workshop please e-mail me at stapletonkearns@g-mail.com See you there!

Sarasota Snowcamp

 

The workshop will be held February 8 through the 10th. This will be an intense three day workshop. I will teach the practice of landscape painting in the Florida  sunshine. I will demo in  the morning and give each student individual  attention in the afternoon.  We will run long days and I think this should be a lot of fun, sort of a vacation, but way more work. Ramp up your painting skills and escape of the plateau you might be on! I guarantee you I can save you years of screwing around. All levels of ability are invited.

 The workshop will begin Friday morning and end Sunday evening. That's three days. I charge $300.00 per person, a $150.00 down payment and $150.00 final payment to be paid at the event.
 Please understand this is a non refundable deposit. If you sign up I will hold your spot in the class for you, regardless of whether you are actually intending to come. That is what the deposit "hires" me to do and guarantees you will receive. So please don't sign up unless you are intending to take the  workshop.