Aesthetic Design Tools for Landscape Painting
With Jill Carver

May 13–15, 2024

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Aesthetic Design Tools for Landscape Painting
w/Jill Carver
A three (3) day indoor workshop
Monday, May 13 through Wednesday, May 15
10:00 am – 4:00 pm
Jill Carver will discuss how unity and variety are paramount to create overall harmony in a painting. Over three days she will explore design tools relating to the core components of shape, value and color; one day being dedicated to each of these.
Not only will Jill be explaining how to manage each of these elements but also how to explore the visual ‘what-if’s’, experiment, and identify ways to produce personal, poetic, intentional paintings. Jill embraces the notion that creativity – and fun – are rooted in the design choices we make.
She will also explain how the choice of design/compositional tool should be dictated by the subject matter and what an individual artist wishes to say about it.
Jill will structure the workshop through set exercises, slide-shows, lectures, demos and brainstorming discussions. Students will be working from their own visual material, as well as that provided by Jill.
Jill will also endeavor to have a social evening get-together for one of these evenings.
Oil Paint: bring good quality paint – no student grade oil paints – they will only frustrate you. (I like Gamblin for their quality of pigment, consistency and price)
My suggested palette: Titanium White/Zinc Blend Cadmium Yellow Light Yellow Ochre
Cadmium Orange

Cadmium Red Light
Permanent Rose or Alizarin Perm. Dioxazine Purple
Ultramarine Blue Manganese Blue Hue Pthalo Green
Panels and canvas.
Bring 4-6 small canvas panels (8×10, 9×12, or 11×14 and at least two 12 x 16).
PLUS, for many of the exercises, a sketchbook of Canson Oil & Acrylic Paper (9×12 inc) works great. Bring masking tape to attach it to a board for working and transporting wet.
Bring 2-3 different photographs (and field studies if you have them) of landscapes that appeal to you – we will be using these for brainstorming discussion sessions on design and motif. Bring prints that are large enough for everyone to see when pinned to a board; letter-size ideally – they don’t have to be super quality. Note: they don’t have to be ‘ready made’ compositions (as we will be figuring that out!)!
The school will provide easels, side tables and stools. (You may bring an easel set up that you are used to working with if that is your preference but nothing huge).
Bring a palette and the larger the better. Also bring:
Notebook/sketchbook Sharpie
Roll of masking tape Viewfinder
Red Acetate Value viewer Color wheel
Paper towels
(I’ll have some viewers, color wheels and red acetate viewers available for purchase)

Brushes: good quality bristle – I like Grand Prix Silver or Robert Simmons (both available at Jerry’s or Dick Blick). I use long or extra long filberts and rounds – sizes 4 – 12.
Brush cleaner filled with odorless turps only – Turpenoid or Gamsol are great. (NB: only odorless will be allowed in our indoor classroom).
PLUS small turps cup for clean turps.
Any other questions on supplies contact me direct at: artist@jillcarver.com
Originally from London, England, Jill Carver moved to the United States in 2002. Before becoming a full time professional artist, she was a curatorial research assistant at the National Portrait Gallery in London for twelve years. Jill lives in Rico, Colorado, a small historical mining town nestled in the San Juan Mountains of SW Colorado.
After establishing her name winning numerous Artists Choice awards at the country’s top plein events, such as Laguna Beach Invitational and Plein Air Easton, she has participated in premier annual shows such as The Coors and The Bighorn Rendevous. In 2014, Jill won the Gold Medal (Artists’ Choice) for Best in Show at Maynard Dixon Country and in the same year was inaugurated as Signature Member in ‘Plein Air Painters of America’. Her work is represented by The Medicine Man Gallery, The Insight Gallery, and Wood River Fine Arts. She is a popular and highly regarded teacher.
Skip Whitcomb: “Jill is making a powerful imprint on a whole generation of painters and opening eyes and minds to what western painting can be.”