January 23-25, 2018




Course Description

In this workshop we will concentrate largely on UNIFYING A PAINTING by working on achieving color harmony. This will not be a "color workshop," as I don't believe that color is THE most important thing in a painting. However, color harmony is many times the thing a person who views a painting will love about it and not even realize it. We will not be using a "mother color" and adding it to every color we mix; instead we will focus on what I call "bending a color." Also in the workshop, composition, focal point and ways to lead the eye around the painting will also be stressed to further unify a painting.

A few testimonials from one of Cecy's recent workshops:

"Loved your teaching style! Step by step instructions were so helpful. I also overheard you speaking with others in such a positive manner. I'm sure there were times you struggled to think of something positive to say! Thanks so much for the individual attention!"

-Sandy Sadler

"Thanks for a great workshop! I love the way you paint, the varied colors you use, and how it all flows together. One day I hope to achieve the same fluid way you paint."

-Pat Jolley

"Great instruction! I like the way you made us look at colors and shapes beyond what we actually see. You renewed my faith in me!"

-Nancy Cagle

About the Artist

Cecy Turner is an award-winning artist who has been painting and teaching for the past thirty-five years.  She takes ordinary subjects and makes them seem magically “bathed in light.”  She loves to paint a large variety of subject matter to continue the challenge with each new painting and she constantly works on her development as an artist. Her frequent plein air painting gives her much pleasure because of her lifelong love of the outdoors, as well as sharpening her decision-making and observation skills at the same time. It is her favorite way of painting because of its urgency and freshness.

Cecy’s work has been selected for numerous national exhibitions, including Oil Painters of America, Salon International, Top 100 Arts for the Parks, Top 100 Paint the Parks, American Artists Professional League Grand National Exhibitions, National Watercolor Society and National Oil and Acrylic Painter’s Society.  Her paintings have won awards in most of these competitions. Recent awards include Best of Show in the Rocky Mountain Plein Air Painters (RMPAP) Centennial Celebration for Rocky Mountain National Park,  Merit Award for Landscape in the Salon International at Greenhouse Gallery in San Antonio, TX, Award of Excellence in the National Oil and Acrylic Painters Society "Best of America," First Place in the Women Artists of the West 43rd National Exhibition and the Irving Art Center $1,000 Award of Excellence in the five state Texas and Neighbors Exhibition.

Cecy’s work has been shown in numerous solo and group shows in the United States and Japan.  Her work is found in private and public collections throughout the United States and Europe, such as the Brevard Art Museum, National Audubon Society and Paralyzed Veterans of America, to name just a few.

Cecy holds her Signature Membership in the National Watercolor Society, Southwestern Watercolor Society, National Oil and Acrylic Painters Society, American Plains Artists, American Women Artists, Associated Creative Artists, Outdoor Painters Society, Plein Air Artists Colorado, and Texas and Neighbors. She is a Master Signature Member of Women Artists of the West and a Fellow of the American Artists Professional League, as well as a member of Rocky Mountain Plein Air Painters.  Articles about Cecy have been published in American Artist Magazine, Watercolor Artist Magazine (cover, February, 2010 issue), Southwest Art Magazine, Art of the West Magazine, Western Art Collector, Home and Heritage Magazine and North Light Magazine, and her work has been featured in The Best of Flower Painting.  She was chosen as an “Artist to Watch” by Southwest Art Magazine in their July, 2006, issue.


Colors: (I use these colors; however, you can paint with any reds, yellows and blues)

Ultramarine Blue (or French Ultramarine Blue)

Cobalt Blue

Cerulean Blue

Viridian Green

Winsor Lemon (or Cadmium Lemon, Cad Yellow Light or Pale)

Cadmium Yellow Medium

Yellow Ochre

Cadmium Orange

Alizarin Crimson

Cadmium Red Light (or Permanent Red Medium by Rembrandt)

Burnt Sienna (Winsor Newton) or Transparent Oxide Red (Rembrandt)

Titanium White (this is what I prefer, but most whites will do)

Optional Colors: (colors I could live without or mix them from the above colors)

Terre Verte (Holbein)

Raw Umber

Asphaltum (Rembrandt or Gamblin)

Permanent Green Light (just to spruce up your green mixtures)

Thalo Red Rose, Quinacrodone Violet or Permanent Rose (cool reds helpful for flowers, sunsets and for mixing purples - I don't normally use these except for these reasons)  

Grumbacher is a good brand for most colors and is reasonably priced. I like Winsor and Newton, Rembrandt, Gamblin, and Holbein. Student grade or “Winton” are not as good.

Canvas:  Cotton canvas is fine for class, or canvas panels. Sizes: 9x12, 11 x 14, 12 x 16. Canvas panels are very absorbent, so put three coats of gesso on them, letting dry between each coat. You don't need to gesso linen canvas, but linen is a little pricey to bring to a workshop!

Note: Smaller is preferred so we can get a couple of "starts" and one "finish" each day.

Brushes:  Personal Preference. I like Silverstone Grand Prix or Robert Simmons Signet bristle brushes. I use mostly a variety of flats #2-10 and maybe a couple of rounds 6 and 8. Sometimes a soft synthetic or sable is good for blending. I use an old watercolor "rigger" brush for fine lines and tiny branches. I also like Rosemary and Trekell brushes, both mail order from these companies. Rosemary "ivories" are great if you want a couple of soft flat brushes.

Palette: A piece of plexiglass is good, covered with wax paper to carry – or, paper palette with tear-off sheets

Medium:  I usually don’t use a medium, but I’ll bring Res-N-Gel for everyone to use. Some mediums, like Liquin, have too much odor to use in a class, so please don't bring.

Scraps of canvas or a couple of 8x10 canvas boards for "Unifying a Painting" demonstration - we will do a couple of "paint alongs" to practice bending a color to unify the colors in your painting.  Also, pieces of gessoed watercolor paper will work or Arches oil paper (available at art supply online stores below and at Asel Art Supply).

Plastic sack to keep at your easel for your dirty paper towels

Sketchbook, Sketch pencil, Eraser for your notes and small thumbnail sketches and line and value studies of your “plan.” Bring a soft pencil for your dark value in your value plan.

Easel – Bring table easel (preferred if you don't mind sitting to paint) or stand-up easel. There are tables and chairs in the room .

Turpenoid  or Gamsol by Gamblin (NO REAL TURPENTINE or odorless Paint Thinner, PLEASE!!) You may bring in glass jar with saran between the jar and lid so it won’t leak) The odorless mineral spirits from the hardware store is NOT really odorless.

Paper Towels (I like Viva)

Palette Knife (I use Che Son 810)

Optional: Color wheel, small proportion wheel, surgical gloves

Photos: Try to bring some photos of simple landscapes that you can clearly divide into 3-5 shapes if you squint. We'll do abstract block-in before we begin each painting. I'll also bring or email some landscapes you can use if you can't find anything.

Helpful but not necessary:  There is an app for iPhones called Value Viewer. It's certainly worth having!

Last But Not Least:  A sack lunch if you don’t plan to go out (there is a refrig. and microwave and a couple of places to eat within a very short walking distance) and ALL OF YOUR ENTHUSIASM! We'll be working hard and absorbing a lot!


Good online art catalog stores: Jerry's Artarama, Daniel Smith, Cheap Joe's, Dick Blick