Workshop Schedule: This three-day workshop meets on Tuesday, Wednesday, and Thursday. You will work from images of your choice (either mine or yours) that capture the low country marsh and wetland, the piedmont trees, buildings, and fields, or mountain streams and lakes. The build-up and layering processes and philosophies are the same across all three.

What You'll Learn: Andy will guide you through a layered approach to studio painting, explaining and demonstrating each step while providing hands-on assistance. You'll learn how to bring different techniques, tools, and objectives to each distinct layer of your painting.

Day One: We'll start 4–5 small paper studies together. The first session moves quickly — you'll do as many first layers as you can in the afternoon (usually one to four).

Day Two: We'll deal with the second layer — its purpose, approach, and tools — and with luck start to find the magic. We will put a second layer on all paper and canvas starts from Day One.

Day Three: We will complete one paper piece and one canvas (maybe more of each) and establish the direction and process needed to complete all of your unfinished starts from Day Two.

Materials: A complete materials list is included in the Additional Information section. I will provide all the prepared Arches heavy paper — taped and surfaced — needed to complete the workshop. If you prefer to work on canvas, you may bring any surface you want, as long as it is properly prepared with extra layers of gesso.

MATERIALS LIST

• 2 gessoed canvases, 20 x 24 or 24 x 36, or one 40 x 30 inch canvas, each with at least 2 coats of gesso

• In addition: 3–5 prepared paper pieces (or smaller canvases or canvases of your choice). You will paint the first layer under my watchful eye. These are to be completed on your own, away from Braitman Studio.

• Jerry's Art-a-rama has a good substitute for the Cheap Joe's Green Label

• A full set of oils

• A full set of brushes

  • Richeson Wash Brushes, series 5130, work the absolute best for me

  • #4 filbert

  • #12 flat (with a very crisp, clean edge to the bristles) — I use a Princeton Dakota brush

• A palette knife

• Oil painting medium, or the capacity to mix it up:

  • Empty squeeze bottle

  • Original Liquin

  • Stand Oil

• Sketchbook