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Colors of the West: Landscape Watercolor at Cascade Head

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Print Workshop Info
Colors of the West: Landscape Watercolor at Cascade Head
Molly Hashimoto
Date and Time:
10:00am - 4:00pm
$240 plus $5 Materials Fee
Total Cost:
Minimum Age Level:
Skill Level:
Registration for this workshop is closed.
Registration for members begins
February 27, 2018
If you are a member, please sign in above. If you are not yet a member, you can purchase a membership
The open enrollment period begins on
March 13, 2018

Workshop registration opens for members on February 27.

Workshop Overview

Learn how to sketch and paint many of the diverse and colorful landscapes of the Pacific Northwest: coastal rain forest, ocean headlands, subalpine meadows and desert. We'll pay special attention to the palette for each region. Work will include skill building on specific objects like trees and rocks, as well as time to begin and develop more complete paintings.

About the Instructor(s)

Molly Hashimoto has taught watercolor landscape for the North Cascades Institute, the Yellowstone Association Institute and is a frequent workshop presenter at Daniel Smith Artist Materials. Her illustrations have been published by Pomegranate Communications for twenty years. Her watercolor sketches of landscapes, flora and fauna appear in her recent book about travels in the west:  "Colors of the West: An Artist’s Guide to Nature’s Palette."

Materials List: Students Bring


• Drawing pencil HB (for watercolor undersketches)

• Artist eraser, white Mars plastic (made by Staedtler)

• Arches 140 lb. cold press watercolor paper, in single sheets 22 X 30: cut to preferred size for your painting. It’s also available in blocks: 7" X 10" or 9" X 12" are good sizes. : please be sure to bring 100% rag watercolor paper. No Canson or Strathmore, please. Just Arches or Fabriano—this is really a big factor in painting loose washes, which is one of the methods I’ll be sharing with you.

• Sable or sable/synthetic blend watercolor brushes: #6, and #4 round, ¾" flat, ½" flat.

• Other sizes and types are optional. Do not buy a synthetic brush for larger round sizes; they are too stiff and do not lay smooth washes. Synthetics are fine for #4 and smaller sizes. I like Da Vinci Maestro sable rounds the best, but they are expensive. A sable/synthetic blend works well and is cheaper. Other brushes I like using are smaller flat brushes with chisel edges (which are useful for softening edges, and lifting out), riggers or liners for small line work.

• Fine artist quality tube paints: Daniel Smith, Winsor and Newton (not their Cotman variety), Old Holland, Schmincke, Sennelier and M. Graham are some of the higher quality manufacturers. If you buy cheaper student-grade paints, be aware that they are not always lightfast and hues may vary considerably from artist-quality paints.

• Your own palette is fine but if you are buying a new one these are my recommendations:

• Required colors--a warm and cool hue of each of the primary colors, plus a few neutrals: Warm means it leans towards red, cool means it leans towards blue (in the primary hue of red, warm means leaning towards orange, cool means leaning towards violet).

• Reds: Cool: permanent alizarin crimson

• Warm: pyrrol scarlet or Winsor red

• Blues: Cool: phthalo blue (green shade) or Winsor Blue (green shade)

• Warm: phthalo blue (red shade) or Winsor blue (red shade) or French ultramarine blue or ultramarine blue

• Yellows: Cool: hansa yellow light or Winsor yellow

• Warm: hansa yellow medium or Winsor yellow deep

• Violet: carbazole violet or Winsor violet

• Browns and golds: quinacridone burnt orange, yellow ochre or raw sienna (you can substitute burnt umber or burnt sienna for the quinacridone burnt orange).

• Other colors you may want to add, in order of their usefulness: cobalt blue, hansa yellow deep or new gamboge, perylene green, perinone orange, indanthrone blue, Chinese white, or Winsor and Newton permanent white gouache-it has more covering power than Chinese white.

• Paint palettes: whatever you currently have is fine, but if you are buying something new these are my recommendations:

• Studio work: my favorite is the John Pike Watercolor Palette-it’s large, has a cover and multiple small wells. You may also need saucers or a palette with larger wells if you plan on mixing up larger washes. I use the San Francisco Slant Palette.

• Water containers (small yogurt containers work fine, or glass jars)

• 3M Drafting tape (will not tear most watercolor papers)

• Soft cotton rag, paper towels

• Masking Fluid—best brand is made by Winsor and Newton (applied with a metal nibbed pen, bamboo pen, or Incredible Nib)

• Optional materials: small portable palette for outdoor and plein air work (Sennelier, Van Goh Pocket set, Winsor and Newton Cotman or artist quality, waterbrushes, or squeeze out your tube paints into an Alvin 18 pan waterproof palette; camp chair for comfort in case we work outdoors; water bottle and old bottle for discarding dirty paint water

Materials List Provided by Instructor(s)

• Color and black & white copies

• Many different tube paints to sample

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