Susan Carlin
Portraits Paintings Figures Nature Pets

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Four Saturdays in June

June 9, 16, 23 and 30
10 a.m. to 3 p.m.

Increase your confidence in your drawing skills, in your ability to see value correctly, in your ability to mix the colors you want, be more deliberate in the quality
of your edges. We'll also discuss some composition considerations for more effective drawings and paintings. That's a lot to learn in such a compact workshop, but this workshop is as much for the brave beginner as for the seasoned artist who wants to build on her/his mad skills.

There will be an hour lesson on specific areas relating to being more accurate in drawing and painting at the beginning of each session. The remainder of the time will be individual instruction. So, bring a current project to work on, or start something afresh. You may work in oil, acrylic or pastel, or focus entirely on drawing, if that's best for you.

Supplies: Whistle Stop Corner has tables, chairs, table easels, odorless mineral spirits and walnut oil for you to use.

Oil Painters-
Pad of Drawing paper any quality, but at least 25 sheets. Masking tape. The blue or green kind is easier to remove. Drawing media Graphite pencils, 2B and softer, or charcoal pencils, and kneaded eraser. Drawing board or piece of Masonite an inch or two larger in each direction than your drawing paper and your canvas or panels. 11x14 canvases or panels (unless working on something already began). Palette- one with a lid is always good. 3-5 brushes from small to large (flats and filberts are most useful) oil paints: a good basic array is Cadmium Yellow, Cadmium Red, Alizarin Crimson, Ultramarine Blue, Titanium White and Ivory Black. You may add and other colors you like. Two small lidded containers 2-6 oz is large enough. A roll of paper towels or a stack of cheap paper napkins.

Acrylic Painters-
Same as above, but acrylic paints, of course. And only one lidded container.

Pastel Painters-
Same as above minus the paints and brushes and palette and containers. Instead, you'll need to have a good set of pastels, no fewer than 75 sticks, and be prepared to remove most, if not all of the paper labels. Medium value, neutral color sanded pastel paper is the best, but may use Canson Mi Tientes pastel paper in medium value, neutral color, as well. No Strathmore paper. At least 3 pastel pencils- brown, black and white. Newspaper or aluminium foil to make a dust catcher for the bottom of your drawing board. An old throw rug for the floor under your work area to prevent falling pastels from breaking.

Pad of Drawing paper- any quality, but at least 25 sheets. Masking tape. Blue or green kind is easier to remove. Drawing media- Graphite pencils, 2B and softer, or charcoal pencils, and kneaded eraser. Drawing board or piece of Masonite an inch or two larger in each direction than your drawing paper.

Susan Carlin 210-602-8562,,,

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*Workshop 'Testimonials':
Susan is an amazing teacher for both the beginning and advanced student. She has the gift of being able to focus on the essential needs of her student and offer specific information that is immediately applicable without being overwhelming. She explains concepts with elegant simplicity and offers critiques that are to the point and never judgmental. Her manner is enthusiastic and encouraging; it is great fun to study with her. I have learned more in less time from her than from any other teacher I have studied with. She also has invaluable personal experience and creative ideas to offer regarding the practicalities of making a living as an artist. I feel lucky to be able to study with her, and strongly recommend her as a teacher.
Tanith Korravai

Our Rockwall workshop was just awesome!! These are the things that stood out in my mind: First, Susan asked each person what we wanted to work on the most- for me it was drawing skills: a portrait that resembled the photo. Susan's point system was very helpful. She explained the importance of value scale, she gave us a card with a hole punched out, so you could compare the color you put down, to see where it would fall on the value scale, this applies to landscape, portrait, animals etc. She stressed that we learn to squint & how to do that without getting wrinkles! The time she spent with each one of us was the best I've ever had in any workshop, and I have taken many over the years. I left very inspired by Susan and her advice that I came away with, was "Commit to painting fifty small one-hour paintings rather than (1) fifty hour painting." If you are thinking about getting together with some of your art buddies, have Susan come to your town. It will be the best time ever… and the most fun!!!
Happy painting,
Linda Clare, Texas

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