January 4-10, 2015
$1,750 for the second week,
this includes 6 nights lodging (based on double occupancy),
breakfast and lunch on workshop days.

*Note this is one of my only workshops that allows to focus on large scale works because of the size of the facilities.

The following is an overview of my concepts and techniques on painting

Things to think about and remember..
This entire process is based on working in reverse, and out of time with our thoughts. This method forces us to learn to see. Meaning we see what is, rather than the idea of it. It's easy to get caught up with the ideas in ones head. We aim to learn that a plan is just a starting point at best, and it's always ok to change our direction. A rigid plan can confuse us with let downs and expectations. Just because things aren't going as planned doesn't mean they are going poorly. I've found in my past that sometimes even when things are working out better, it's easy to still be confused and frustrated based on the idea that things are not going as planned. Best to not look at the plan, but rather what's happening so we don't miss anything..

This class is not about painting a specific thing or outcome. It's more about how we create that is important. the techniques can be applied to any style of creation as well as living life.. by watching what happens we can see what is happening above expectations and thus make clearer decisions about the future.. changing direction rather than following a preconceived idea we came up with before any of the steps had taken place..

I like changing my mind. Especially when I don't like my first choice.. if somethings not working out it can often be far more productive to drop it and start over then forcing broken pieces together..

Once we realize this, our ability to learn becomes less painful and limitless. When mistakes are just encounters to be corrected, learned from, or left as the perfect accident, we learn not to fight or fear our actions. I like to use approaches that shouldn't work. This takes away our desire to expect immediate results. We expect less and get more. This brings us back to learning to see rather than expecting to see. This is crucial to opening us to new experiences, and in turn rewards us with unexpected results in the process. This will in time break down our ideas and fears of the unknown, allowing us to encounter new things with greater ease and less fear..

The truer we become with our desires the more we attain them.. finding what you want in yourself can be the hardest part. After this it's basically not giving up and pushing forward.. if we move in this manner we eventually get where we want to go. Frustration distracts us and pushes us back. Fun and excitement move us forward.. this is why I look for techniques and approaches that are stress free, physically and mentally fun.. constantly learning to try something new, look, see, wait, and then decide with a fresh eye what you really see.. it's amazing what a fresh look can show you.

Within this process it is the questions you ask yourself that are most meaningful. Let these guide your creativity and help you find what you're looking for. Learning to know your steps when you see them. Changing your mind and direction when needed.. make choices patiently, deciding what exactly is not working and what is, then move forward by eliminating what doesn't work with a new choice.. continue in the this manner and your work will inevitably move forward and work itself out organically and naturally. Overtime you will develop a style and techniques that are meaningful and very much your own.

Using the wrong brush, hand utensil, etc is always a good idea. It insures low expectation - the reward of getting more than expected is very motivating. This will also force us to learn to look clearly and stop us from expecting to see something else. It's easy to overlook things when we have expectations. Using awkward utensils develops technique by default. Color inconsistency using small brushes for large areas creates diversity of color without even trying an organic active field is created effortlessly while blocking out we create depth and variation. In the opposite direction using a large brush for a small area forces us to be very focused. In time it breaks us from thinking everything needs to be so exact. It forces our details to come out loose no matter how tight we make them. After reviewing enough work created in this way it will be easy to see and understand that it's not so important or productive to be tense and exact when seeking to achieve something that is loose, fluid. More emotional than precise. Once you get over not doing what you expect you will see very free renderings of your intentions..

videos

Here are some video examples of my process...
http://www.youtube.com/watch?v=wxEIqgZLmxk

This one is a more in depth look at my work. 20 mins.
http://www.jessereno.com/vimeo.html

Supply List

product codes are for dick blick as thats what i use.

Paints (cost approx 3.99 each)
blockout white (pint) - product# 00711-1086
bright red (pint) - product# 00711-3076
chrome yellow (pint) - product# 00711-4156
phthalo blue (pint) - product# 00711-5146
mars black (pint) - product# 00711-2046

Oil Pastels (cost aprox .65 each)
white - product# 20012-1000
burnt sienna - product# 20012-8040
pale blue - product# 20012-5010

Paper/Canvas
whatever you want to bring. canvas/paper are suggested because its easy to roll and transport. 19"x24" is a good minimum size. 3'x3' is a good maximum size.

Brushes
I would purchase below, or bring any you have from other projects. Too many choices to get specific. I use cheap brushes myself as I destroy them within a months time regardless of quality. I generally use 4 brushes.
3/4" flat
1/4" flat
1.5" flat
3/4" fan

For information and reservations
contact Sam @