Workshops

Crested Butte Plein Air Invitational

I'm making frames and double-checking all of my tubes of paint, getting geared up to head out to Colorado next month for the Crested Butte Plein Air Invitational in Crested Butte, Colorado. I'll be painting on location in Colorado for about two weeks prior to the exhibition opening, which will be July 11-13. If you plan to be in the area please stop by and say hi!

I'll also be teaching a 1-day painting workshop on July 3 in conjunction with the Crested Butte Center for the Arts - check it out!

Painting Nocturnes

I'll be teaching a workshop next weekend, Oct. 12-13, 2013, focusing on painting nocturnes. If you're interested in signing up for this unique experience, you can find more info here.

Moonwashed Desert, 21" x 24", Private Collection, © Eric Merrell

Moonwashed Desert, 21" x 24", Private Collection, © Eric Merrell

Ever since I began painting at night it's been a deep interest for me. It's not something that a lot of artists have attempted, and can be endlessly rewarding. Painting a moon rising over the horizon is great, but standing outdoors in the light of the full moon is magical, and it's not just black and white: the value range is reduced, but there is much more color than most would think. Try it sometime: just stand in the moonlight, and look at the color of say, the sidewalk versus the grass. Look at the trees and the sky. I'll bet you will start to see subtle differences that manifest themselves in color.

Nocturnes provide great situations to work with mood and quiet emotion, and the softness of shapes is infinitely fascinating: while individual shapes are distinguishable, it's hard to say where one thing stops and another begins. Therein lies the challenge of painting what you see, not what you know.

Painting at night is very similar to painting during the day as far as the approach to painting it and the materials required, with one crucial exception - a light. You need a source that provides enough balanced light to see what you're doing without being so bright that you can't see the landscape you're painting. I've come up with a solution that allows me to get very subtle color on location and is not a big surprise when I bring it indoors to a normally lighted room. Lighting and color will be discussed along with other issues one encounters at night in greater detail during the workshop.

Sign up here.

Master Workshops: Pasadena, Carmel and More

Why should an artist paint on location? How do I know what to paint? How do I create personal work that stands out?

I hope you'll join me for a few workshops that I'll be teaching this October in the Pasadena area, and we'll work on answering those questions. I'm especially looking forward to the Seeing at Night class, as we'll be focused on how to paint on location at night. I think this will be unique, as not many artists work on location to paint nocturnes - I'll show my approach that allows you to see REAL subtlety and color, not invented color.

The Water That Is Entirely Jewels 11" x 14", © Eric Merrell

The Water That Is Entirely Jewels 11" x 14", © Eric Merrell

LANDSCAPE PAINTING, October 4-6, 2013 (3 days)

SEEING AT NIGHT, October 12-13, 2013 (2 days)

I've also partnered with Carmel Visual Arts to do a 3-day workshop in Carmel:

PLEIN AIR ALONG THE SEA, November 9-11, 2013 (3 days) Register here

And if you've been following my California desert workshops, I've just scheduled the 3rd Annual workshops for both Anza-Borrego and Joshua Tree. There aren't many workshops taught in either place, and my experience painting on location in the desert will help to bring the classes to great locations and have a great experience.

3RD ANNUAL ANZA-BORREGO LANDSCAPE PAINTING WORKSHOP, March 14-16, 2014 (3 days)

3RD ANNUAL JOSHUA TREE LANDSCAPE PAINTING WORKSHOP, April 11-13, 2014 (3 days)

Painting Workshop in Joshua Tree

I held my second landscape painting workshop of the year in Joshua Tree during April, a beautiful time to be in the desert. Rain has been pretty sparse the last couple of years, so the annual wildflower bloom was pretty much nil in both the high and low deserts, but the cacti and Joshua Tree are pretty dependable for producing some showy flowers. I've been to the JT area numerous times, but there are always new places to explore and paint. Once you become familiar with different areas, you start to notice differences in elevation, plant life, and color.

We began the workshop at Hidden Valley. I chose a few different locations throughout the high-desert section of the park that would provide different landscapes to paint - open vistas full of Joshua trees, areas packed with huge monzogranite boulders, and mountaintop views of the Coachella Valley and Salton Sea. Even the color of the soil varies from place to place. After painting all morning, the class would take a 3-4 hour lunch break to relax, heading back to hotels or into town for a sandwich. Though we didn't encounter too much wind or heat, the intense light really tires out your eyes, so a siesta is crucial. When we returned in the afternoon after a good rest, everyone was ready to jump back into painting. I began each afternoon session with another demo, same as the morning, and we would paint until sunset. The town of Joshua Tree is not that far off the beaten track (much more established than the sleepy town of Borrego Springs), so we would gather in the evening to eat at one of the good restaurants in town, chat about art, check email, or do a little grocery shopping for a BBQ.

During Day 2 we painted in Lost Horse Valley in the morning and spent the afternoon at Quail Springs. I had initially planned for us to paint at Key's View, a spectacular lookout with views over the Coachella Valley including the San Andreas Fault, the Salton Sea, and San Jacinto, but after we arrived the wind nearly blew us off the precipice. We enjoyed the view for a few minutes before we retreated back down to lower elevations to paint.

Our timing was perfect for nocturnes - the full moon was due to rise just a few days after the workshop ended, so during the workshop weekend a bright moon would already be in the night sky by the time it was dark. I had arrived in the desert a few days before the start of the workshop so I was able to paint a few nocturnes, but after painting all day during the class we just never had enough energy. There was quite an interest in trying to paint the moonlight though, so I'm going to be planning a nocturne-only workshop in the near future. Bookmark this page on my website for upcoming workshop news.

After a very productive workshop and informal critique, we headed out for dinner at Pappy & Harriet's Pioneertown Palace, a must if you're going anywhere near Joshua Tree. They feature live music most nights and the food is awesome. The Santa Maria tri-tip BBQ is always hot, and the bowl of chili is amazing. A good evening to wrap up a solid couple of days painting in the Joshua Tree desert.

Painting Workshop in the Anza-Borrego Desert

I've just returned from a week of painting and teaching in California's Anza-Borrego Desert State Park. This was the second 3-day workshop I've taught there, and was excited to return. I love this part of the desert, and this trip afforded me a little more time to explore and paint a few new locations. I also painted a few more nocturnes on location, something that has to be experienced. Even with less than a quarter moon, color temperatures and shapes are apparent, and there is also starlight to see by. NOTE: If you missed this trip, I'll be teaching another 3-day workshop in Joshua Tree next month, April 19-21, 2013.

Each day began with the importance of using your sketchbook - finding what your piece will be about, drawing thumbnail sketches and writing about them. I'm not interested in copying the landscape, but rather finding what it is that excites me about the location. I see painting as a way to dig a little deeper, to try a little harder.

I began with a demo in the morning and did another after lunch. I want everyone in the workshop to come away with a structure or process that they can use to interpret the landscape when they're working on their own. We talked about color, value, shapes, materials, umbrellas, and many other items of concern to artists working outdoors.

We started early each morning while it was still cool, painting until 1 pm or so, and then took a 2-hour lunch and siesta. After the rest, we'd get back out on location for the afternoon. For most folks who haven't painted on location before, one thing they don't realize is how physically and mentally demanding it is. This trip also sprouted a new tradition of starting the afternoon session with ice cream. At the end of a full day of painting, we'd gather for a good dinner at a local restaurant to relax and discuss painting.

I selected three different locations around the park that provided three different types of landscape, with a variety of underbrush, cacti, and change in elevation.

On the last day we created a little shade and held a critique to talk about the work everyone had produced. I'm always glad when I see such a sharp improvement over a short period of time, and there was a notable jump in seeing and painting color in each student's work over the three days. Though we were pretty tired when we departed at the end of the workshop, I think everyone seemed pleased with their efforts and had a sketchbook full of new ideas to put into practice in their own future work.

If you're interested in learning to see and paint color on location, I'll be teaching another 3-day workshop in Joshua Tree next month, April 19-21, 2013. Sign up here: http://ericmerrell.com/workshops.html

The New Naturalists: Borrego Landscape Painters

by Ann Japenga [CaliforniaDesertArt.com], published in the The Sand Paper, Fall 2012 issue of the Anza-Borrego Desert Natural History Association [ABDNHA]

"Borrego Desert, Wind Canyon Cliffs," © Victor Schiro

"Borrego Desert, Wind Canyon Cliffs," © Victor Schiro

If you meet a woman in Surprise Canyon who can name 40 different wildflowers, or a man in rapture over the strata of the Wind Canyon cliffs, you might mistake them for scientists. But in fact these are contemporary landscape artists Kirsten Anderson and Victor Schiro.

Any wash or slot around Borrego these days is likely to harbor an artist. They're part of the statewide revival of landscape painting, spurred in part by the renewed vigor of the prestigious 100-year-old California Art Club.

The current crop of Borrego painters follows in the distinguished steps of early landscape masters who painted here - Maurice Braun, Charles Reiffel, Marjorie Reed, and Edith Purer, also California's first woman ecologist.

With the explosion of outdoor painting and the opening of a major new gallery by the Borrego Art Institute this winter, Borrego seems destined to be an arts destination. Local collector Jim Anderson says Borrego has everything it needs - isolation, iconic scenery, artists, - to draw art fans. "We should definitely promote it as an artist's retreat, like Bisbee (the eclectic mining town in Arizona)," he says.

For painters, the desert is one of the "California classic" essentials to be mastered, along with the Sierras and the coast. Like traditional naturalists, landscape painters bring intense observation to their study of the desert. As Victor Schiro says: "I do this for no other reason than to record the natural world."

For ABDNHA members, getting to know the local artists and their styles can be as rewarding as getting to know the names of 40 wildflowers. For every "known" painter there are ten discoveries waiting to be made. Due to space limitations, only a few of the best contemporary painters are profiled here.

"Desert Moonlight with Jupiter Setting," 24" x 26", © Eric Merrell

"Desert Moonlight with Jupiter Setting," 24" x 26", © Eric Merrell

How do you decide who is good? That's the fun part, as there are few experts. You have as much chance as anyone of finding the next Maurice Braun. Shannon O'Dunn, owner of O'Dunn Fine Art in La Mesa, says what you should look for is "a soul connection, a reverence."

CAROL LINDEMULDER [website]

Lindemulder moved to Borrego Springs in 2007 after the Fallbrook fire destroyed her home and four years of accumulated artwork. Following the fire, she faced hip surgery, nearly died from anesthesia and was in serious need of refuge. "I think I needed a womb," she said.

So she and her dog moved to Borrego Springs. Her paintings contain human traces such as trailers, roads, housing tracts, and agricultural fields. She is especially taken with the trailer communities of Ocotillo Wells. Still, she says, " I consider myself basically a landscape painter - we all live in the landscape."

It was a good day for the Borrego arts community when Lindemulder moved to town, as the painter supports her fellow artists and brings a sophisticated presence to the local scene. She would be right at home at any urban art opening, yet she's a true desert rat who even appreciates the annoying desert wind. As she wrote in a poem, she loves the sound of "sticks and rattles and bones."

VICTOR SCHIRO [website]

Schiro discovered the Mojave Desert as a toddler, romping across 120 acres his uncle owned. He studied art at California Institute of the Arts and exhibited his work widely as a modern painter. Later, while working as a producer and writer in the movie industry in Los Angeles, he developed a love for California history and the early exploration artists who toted sketchpads to uncharted places. When he took up traditional landscape painting, he says he did it "for the same reason those guys did it." Experiencing a place is paramount for him; painting it is secondary.

The Camarillo-based artist has been expeditioning in Borrego in recent years in his 4-wheel Land Cruiser, with his beagle and Jack Russell as crew. He plans to spend the next few years concentrating on the region - the rocks, crystals, geology, and landscape. When he paints the wind cliffs, you can feel the grit. He once wrote about his paintings: "If I buried a doubloon there, I'd want you to be able to find it."

GEOFFREY STONE [website]

Stone belongs to an exclusive subset - artists who actually grew up in Borrego Springs. "The whole park was my playground," he says. The Brawley-born artist moved to town at age four. His late mother, Barbara, and father Herb were both schoolteachers. Geoffrey's grandmother, Catherine Stone, was a watercolor painter who took him on painting trips. "I would splash the paint around," he says. She was always looking at the "long vistas" and instilled the same habit in him. (Catherine and her husband, Joe, were active in ABDNHA; Joe edited The Sand Paper for years).

Geoffrey later worked as a State Park aide and also studied animation and illustration at San Jose State University, where he earned an MFA. Defying recent trends, he is not a big fan of painting outside. He jokes that "plein air" is French for: "Painting outside while wearing a big hat and ignoring tourists who want to come up to you while you're desperately trying to determine the correct shade of blue..."

Look for Geoffrey Stone to take desert art in unexpected directions as he is now working on a study of Borrego life and residents, inspired by his background in illustration and animation.

KIRSTEN ANDERSON [website]

Anderson has a demanding job as a radiation therapist, competing in outrigger canoe races in her spare time. She's lived in Alaska and rafted all over Utah. Formerly married to a desert tortoise researcher, she has read widely in Chemehuevi Indian and desert history. "I am a renaissance person who likes to paint," she says.

Based in Long Beach, Anderson has attended the Borrego Plein Air Invitational three times. Her subjects include iconic landscape features such as Palm Canyon and Indian Head - but also airstream trailers and roadside motels. Like most of the artists featured here, she's dedicated to conserving the lands she paints. "Contemporary plein air painting is about recording the landscape before it's built on or torn down," she says.

Watch this artist in the future for her brainy, ceaselessly reaching paintings incorporating her wide interests in history, mythology, environment, science, and nature.

BARBARA NICKERSON [website]

Director of the Borrego Art Institute, Nickerson lives part-time in Borrego Springs. In the hot months she's found with husband Jul aboard their yacht, Sounder, in the Pacific Northwest. Working in Sumi and watercolor, Nickerson has painted classic Borrego subjects such as Font's Point, the mudhill formation called the Elephant's Knees, and the resident comedic ravens. She brings texture, contemplation, and a primeval feeling to any subject she tackles.

Nickerson, who has a BFA from the Art Institute of Chicago, is teaching a class in Gravity Painting this season. If you're a budding desert artist, sign up and learn to work with paint that moves in a landscape - some would say - that moves as well.

MARK KERCKHOFF [website]

Kerckhoff and the next artist profiled, Eric Merrell, are active members of the influential California Art Club. Both teachers as well as painters, they are introducing new landscape artists to Borrego and influencing others with their distinctive styles.

A sixth generation Californian based in San Juan Capistrano, Kerckhoff is known for his elegant abstract realist landscapes. He likes to make a solo camp along the Borrego-Salton Seaway and paint "the best arroyos in the low desert for color and design." A true naturalist-artist he can tell where he is by the color of the sand (a pink cast means he's near the Arizona border). Kerckhoff likes working in the Arroyo Salado, Truckhaven Rocks and Palo Verde washes, and a place he christened "Blistered Lip Arroyo" in honor of his own parched lips.

ERIC MERRELL [website]

Merrell is the historian for the California Art Club and is increasingly well-known around the state as an envoy for California art. A desert aficionado, he has completed an artist's residency in Joshua Tree, and participated in an exhibit of Salton Sea painters, "Valley of the Ancient Lake." He came to Borrego Springs for the first time recently as a judge for the Plein Air Invitational sponsored by the Borrego Art Institute. It was an immersion experience as the young artist was stuck in the sand at Coachwhip Canyon, impaled by a cholla on the Earth Narrows Trail, and soaked up Borrego ghost stories about a driverless stagecoach each evening.

He aims to return soon to visit the Pumpkin Patch and the Ocotillo Wells region. Until then, Merrell and the other highly regarded artists featured here are Borrego's best ambassadors - exporting images of this lesser-known desert region to L.A. art circles and the world.

The Fine Art Collaborative

Still Life Workshop With the Fine Art Collaborative thefac2012.com Saturday, June 2, 2012 Randy Higbee Gallery, 102 Kalmus Drive, Costa Mesa, CA 92626

Irises, 20" x 20", © Eric Merrell

Irises, 20" x 20", © Eric Merrell

These two paintings will be exhibited at the Randy Higbee Gallery in conjunction with the 3 days of workshops and lectures this weekend, June 1-3, 2012. I'll be teaching a still life workshop on Saturday. Some of the artists I'll be working alongside of include Frank Gardner, Logan Hagege, Glenn Dean, Dan McCaw, John Asaro, and Ray Roberts.

Holding Water, 11" x 14", © Eric Merrell

Holding Water, 11" x 14", © Eric Merrell

Still Life Painting Workshop (FAC)

STILL LIFE PAINTING WORKSHOP(in conjunction with The Fine Art Collaborative) I'm looking forward to this great collaboration of artists and instructors coming this summer. Organized by The Fine Art Collective, numerous workshops and lectures will be held over three days by many familiar names, including these folks: John Asaro, Glenn Dean, Frank Gardner, Logan Hagege, Ignat Ignatov, Stacy Kamin, Dan McCaw, Peggi Kroll Roberts, Ray Roberts and myself.

DATES: Saturday, June 2, 2012, 9 a.m. - 4 p.m. LOCATION: Randy Higbee Gallery, Costa Mesa, CA COST: $130 INFO: A one day outdoor still life painting workshop in Costa Mesa, including instructor demo and student painting time. TO REGISTER: Visit www.ericmerrell.com or www.thefac2012.com for more information

Borrego Springs Workshop and Invitational Paint-Out

I've just returned from an action-packed painting trip to Anza-Borrego Desert State Park. Up until now I'd never been to this part of the California desert, located west of the Salton Sea and on the southern side of the Santa Rosa Mountains from Palm Springs. Interestingly, I don't think that many people in Southern California have ever heard of it, despite its being the largest state park in California. It's remoteness is probably a big reason. Historically, this area was frequented by San Diego-based artists such as Marjorie Reed and Maurice Braun; for the L.A. artists, Palm Springs and the high desert was much more convenient.

Staying in Borrego Springs, a tiny desert town surrounded by the Park, I spent the first three days teaching a workshop with great attendance. Each day presented new locations to explore - and we worked only around the western side of town! Once you get in your car and drive, there are enough hidden canyons and valleys to last a lifetime. We focused on the basics of painting on location, always stressing the importance of good color relationships, emotional impact, and light. We had lots of good conversations and questions about painting, good meals, and covered lots of canvas boards with paint. I was pleased to see a jump in confidence in each person's work from one day to the next, so I think it was enjoyable for all. By the end of the workshop each individual was developing their own approach and personal sense of color.

March 8 was the full moon, so this meant perfect conditions for some moonlight painting! No wind, comfortable evening temperatures, and bright moonlight. Everyone should see the desert in moonlight at some point, it's awesome. This photo only gives a sense of what my setup looks like at night, the camera can't pick up the moonlight even from a full moon; yet it produces enough light to walk by without any other light source.

The last day of the workshop we drove up the mountains to gain some elevation. Culp Valley turned out to be a fantastic spot, with dramatic views back down to the desert floor amidst ancient boulders and forests of cholla.

After the workshop ended and everyone packed up, happily but wearily, to drive home, I had another job in town, so I stayed on. The 6th Annual Borrego Springs Plein Air Invitational began the next day, hosted by the Borrego Art Institute, and I had been invited to judge the event at the end of the week. This meant I had some time to myself to paint, and so I happily disappeared into the desert each day to explore and paint. I was enthralled by day with locations such as Coachwhip Canyon (got stuck in the sand), Earth Narrows Trail (got stuck by some cholla), Font's Point, and others; and devoured stories of desert lore by night - ghostly stagecoaches that rumble by in the dark of the new moon, mysterious ships discovered in hillsides and sand dunes, old stories of lost prospectors and lost claims, shootouts with bandits, De Anza's desert expeditions, Pegleg Smith's legendary black gold, and Indian guides with secrets.

At the end of the week, each of the 15 participating artists brought in their work to be juried. This was a tough decision to narrow down, as art is more subjective than sports, but yet there are criteria we can use to begin to judge the merit of an artwork. Saturday night was the reception for the exhibit, and the town of Borrego Springs turned out in numbers to support the Art Institute and exhibition, a wonderful sight to see. Winds and rain did finally come to town on Saturday afternoon, but the weather generously waited out the week so that everyone could get their paintings done. To me, the desert is one of the most mysterious, beautiful and difficult places to paint, so I congratulate everyone who participated in the Invitational. I came home with a dozen or more sketches, and I'm excited to get to work on larger versions of these.

*Due to the great response to the workshop, too, I'm planning to do another soon. Maybe returning to Borrego Springs, or heading up to Joshua Tree in the high desert. If you're interested in these, send me an email and I'll keep you up to date. This last one filled up quite quickly.

Announcing Borrego Springs Workshop

The Western Sky, 12" x 16", Oil on panel, Private collection, © Eric Merrell

Title: Desert Painting Workshop with Eric Merrell Location: Borrego Springs (Anza-Borrego Desert State Park), California Dates: March 9 – 11, 2012 Time: 9 am - 4 pm (hour break for lunch) Cost: $450 Description: In this workshop we will emphasize color and design – not copying nature, but using it to create our own voice. The California desert provides a perfect place to learn to simplify, one of the biggest challenges in painting. Californian artist Eric Merrell has spent a good deal of time painting and exploring the California deserts, resulting in two solo exhibitions on opposite coasts of the United States: at The Forbes Gallery (NYC) in 2010 and American Legacy Fine Arts (Pasadena, CA) in 2011. Materials: See my website under Workshops To register: Email eric@ericmerrell.com to register or for more info

Painting Workshop in the CA High Desert

No Man Is An Island (Joshua Tree National Park), 10" x 11", Oil on panel, © Eric Merrell

During the week of Sept. 19-23, 2011, I'll be leading a painting workshop in the California desert where we will explore and paint the unique light of world-famous Joshua Tree National Park. Lodging in comfortable and affordable cabins at a rustic B&B in Joshua Tree, CA (5 minutes from the Park entrance), we'll make daily excursions into the Park to paint the different areas of immense beauty.

If you've never been to the desert, it is simply spectacular. The more time one spends in the desert, the more it opens itself to you and the more you'll see. And, although it sounds remote, there are plenty of modern conveniences nearby in town. On at least one night we'll venture over to the famous Pappy and Harriet's Pioneertown Palace for dinner in Pioneertown. This is an experience you'll never forget!

The temperature averages for September in Joshua Tree range from 97°F during the day to 64°F at night - not too different from Los Angeles at the same time of year. The days will be organized to avoid the warmest part of the day: We'll paint in the morning, take a break during the warmest part, and continue painting in the afternoon. This is also a spectacular time of year for desert sunsets.

Limited to 10 students, the workshop is $500 for five full days of painting (Individuals are responsible for accommodations, food, supplies, etc.) Make your reservations today by sending me an email.

Accomodations: The Desert Lily B&Bhttp://www.thedesertlily.com/ Carrie Yeager, Owner P. O. Box 139 Joshua Tree, California 92252-0800 (760) 366-4676

Check out the different cabins and rates on their website above. The cabins are cozy and comfortable, but if you bunk with a couple of others, it works out to about $180 - $300 for six nights, and the seventh night is free! That's $18 - $42 per night! Please call the B&B directly to make arrangements, and mention that you're part of the painting workshop.

CSU Summer Arts Workshop

July 11-15, 2011 - Representing the Figure: Drawing and Painting
I'll be one of four instructors this summer at CSU Fresno Summer Arts program presenting painting workshops along with F. Scott Hess, Yu Ji, and Samantha Minear.

Though the title focuses on the figure as a subject, we'll also be focusing on still life and landscape in my class. These workshops are open to anyone - you don't need to be enrolled in the CSU system to participate, and there are many opportunities for scholarships available.

For more info, click the image above for a larger version or click here.

Painting Workshops

I'm currently teaching ongoing Saturday morning workshops, usually in the San Gabriel Valley area (with some excursions to other areas nearby). You're welcome to join us from 9 a.m. - 1 p.m. Each four hour session is $100. Let me know when you can paint with us and I'll get you the location where we'll be that weekend.

As seen in my February 2011 eNewsletter. To make sure you receive the eNewsletter with the latest info, send me an email.

Upcoming Workshops, Fall 2010

(L) At the King Gillette Ranch, Calabasas, 12" x 16", Oil on panel, © Eric Merrell (R) Still Life with Lemons and Green Bowl, 16" x 20", Oil on canvasboard, © Eric Merrell

I will be doing a few workshops in the next few months, would love to have you join us.

The first will be a 2-day workshop on (Sat/Sun) September 18-19, 2010, 9:30 a.m. - 4:00 p.m.  Saturday we will be working from still life setups outdoors at my studio, and on Sunday we'll be painting on location (location TBD). Cost: $300 (email me for payment options and more info).

The second workshop is scheduled for another Sat/Sun, October 16-17, 2010. This one is being set up by LAAFA, so you can contact them to register: Visit their website or call them at 818/708-9232. This landscape workshop (locations TBD) will also go from 9:30 a.m. - 4:00 p.m. and cost $300. Both of these workshops are limited to ten students and are on a first-come first-served basis.

I'm planning a workshop out in Joshua Tree National Park at some point in the near future (in the winter or spring, of course). There are lots of great places to stay out there. This workshop would probably be limited to 8-10 students. Leave a comment if you'd be interested in this - you've got to see and paint the California desert if you haven't yet. (For some paintings of the desert in and around Joshua Tree, check out work from my solo exhibit at The Forbes Gallery in New York, ongoing until Sept. 25, 2010.)

The New Year @ LAAFA

The winter semester at the Los Angeles Academy of Figurative Art in Van Nuys, California starts next month, and the Landscape Painting Class will be in full swing again beginning Saturday, January 16th, 2010. The class runs for eight consecutive Saturdays, and class size is kept small so students will receive plenty of individual instruction. LAAFA is offering an Early Bird Special if you sign up before January 4, 2010.

In these classes you will learn how to paint what you see, not what you think you see. Learn how to interpret in terms of paint, using light and color to create form. Color relationships, design/composition, simplifying, and the benefits of painting on location will be discussed, as well as how to design and build a painting that carries an emotional impact. Make an investment in your art – gain confidence and knowledge that will inspire all areas of your creativity.

At the Edge (The San Gabriels), 16" x 16", Oil on panel, Private Collection, © Eric Merrell

As artists, we need to be able to interpret what we see and understand what we paint. Ample time is given to demos by the instructor as well as individual painting time. All experience levels are welcome. Limited space is available – call 818/708-9232 or visit www.laafa.org to register your space today!

For more information, please visit www.ericmerrell.com and click on Workshops.

Upcoming Workshops and Paint-Outs

thewindowsglow_s The Windows Glow, 18" x 24", Oil on panel, © Eric Merrell

VAGlogo

On Sunday, October 25, I'll be painting with the Valley Artists Guild at Topanga Canyon State Park from 9:00 a.m. - 1:00 p.m. The Valley Artists Guild was founded in 1948 by the sculptor Henry Van Wolf (1898–1982). If you're in the area please stop by and join us. Check out their October Newsletter.

LAAFA

The new Fall schedule begins soon at the Los Angeles Academy of Figurative Art (LAAFA). If you've been wanting to sign up for the landscape class, this is your chance. It runs for 8 consecutive Saturdays beginning this weekend on October 3 from 9:00 a.m. - 1:00 p.m. Visit their website or call 818/708-9232. More class info here.

These classes will show you how to paint what you see, not what you think you see. Learn how to interpret nature in terms of paint, using light and color to create form. Become more proficient at mixing and painting color relationships, design/composition, simplifying, gain from painting on location, as well as creating a painting that has something to say. Make an investment in your art – gain confidence and knowledge that will inspire all areas of your creativity. All levels of experience are welcome.

Landscape Painting @ LAAFA

The Fall Semester at the Los Angeles Academy of Figurative Art in Van Nuys, California is beginning next week, and the Landscape Painting Class will be in full swing again beginning Saturday, October 25th. It runs for eight consecutive Saturdays (excluding the Thanksgiving holiday) through December 20th. The class size is kept small, so students will receive plenty of individual instruction. 

In these classes you will learn how to paint what you see, not what you think you see. Learn how to interpret nature in terms of paint, using light and color to create form. Color relationships, design/composition, simplifying, and the benefits of painting on location will be discussed, as well as how to design and build a painting that carries an emotional impact. Make an investment in your art - gain confidence and knowledge that will inspire all areas of your creativity.

Focusing Intensity, 18" x 20", Oil on board, © Eric Merrell

As artists, we need to be able to interpret what we see and understand what we paint. Ample time is given to demos by the instructor as well as individual painting time. All experience levels are welcome. Limited space is available - call 818/708-9232 or visit www.laafa.org to register your space today!

For more information, please visit www.ericmerrell.com and click on Workshops.