Fri, Apr 05|
Crooked Creek Park
"Watercolor Workshop" with Frederick C. Graff
Workshop: "Watercolor Workshop" with Frederick C. Graff Come learn from a watercolor master with 49 years of teaching experience. Students will explore different, innovative watercolor approaches and concepts through exercises, lectures and demonstrations.
Time & Location
Apr 05, 2019, 9:00 AM – Apr 06, 2019, 4:00 PM
Crooked Creek Park, 1098 Old Lexington Hwy, Chapin, SC 29036, USA
About The Event
This workshop is FULL. Existing registrants may still go to the registration screen to pay the balance due on their entry as needed. Interested in getting on a waitlist? Contact our workshop coordinator, Sandra Oliver at email@example.com.
(Intermediate - Advanced)
Graff’s diverse approach to watercolor painting in addition to his forty-nine years of teaching experience enables him to further develop and enhance each student’s personal style of painting. His diversified approach and professional knowledge of watercolor painting add a unique dimension to his teaching methods. Using the basic approaches to watercolor painting as a springboard, students will explore different, innovative watercolor approaches and concepts. During this two-day workshop, Graff will provide a series of exercises, lectures, and demonstrations that will enable each student to fully understand different approaches on how to develop a painting. Graff states: “When an artist understands the basic principles and elements of design, the subject matter becomes unlimited. It is essential that the students go beyond the level of just recording facts. It is my intent to convey to the students how to spontaneously respond to the subject matter in an unrestricted, yet semi-controlled manner.” The different watercolor concepts introduced will enlighten both the traditional and contemporary watercolor artists. The course will be conducted indoors at the Crooked Creek Park facility.
A PowerPoint presentation will be open for the entire Crooked Creek Art League membership to attend Friday evening, April 4. The first part of this PowerPoint program will highlight Graff's painting techniques, approaches, and theories of thought regarding compositional design. The second part of this PowerPoint program will consist of a critique that features the participating workshop student's paintings that were created prior to the workshop.
Graff’s work may be seen in Marilyn Hughey Phillis’ book Watermedia Techniques for Releasing the Creative Spirit, Mark E. Mehaffey’s book Creative Watercolor Workshop, and International Artist Magazine, February / March 2002 issue Watercolor Artist Magazine (February 2014, June 2015) and many other publications.
About the Instructor
Frederick C. Graff is one of the foremost watercolorists of today. He is a signature member of all three major watercolor societies: American Watercolor Society “Dolphin Fellow”; National Watercolor Society; and Transparent Watercolor Society of America “Master Status”. His continuous growth and development in his pursuit of watercolor has enabled him to be a leading artist/educator in the field of watercolor painting.
“When an artist understands the basic principles and elements of design, the subject matter becomes unlimited. The selection of my subject matter is determined by my immediate response to the subject and its surrounding environment. It is essential that I go beyond the level of just recording facts. It is my intent to convey a spontaneous response in an unrestricted yet semi-controlled manner. This approach to watercolor painting lends itself to a unique and unpredictable experience. This state of uncertainty compels me to further explore the world of watercolor. It is always my intent to challenge and express myself in an honest and creative manner.”
Upon graduation from Miami University, Fred studied privately with the late Franklin A. Bates. He pursued additional graduate work at both Kent State University and the University of Akron. In addition to being a retired art teacher for the Berea City Schools, Fred has been conducting numerous watercolor workshops, demonstrations, and critiques throughout the United States and abroad for the last forty years. His work has been featured in Watercolor Techniques For Releasing the Creative Spirit; Creative Watercolor Workshop, International Artist (February/March 2002), Watercolor Artist Magazine (February 2014, June 2015) and many other publications.
His diverse approach to watercolor painting has continued to attract individual and corporate collectors, including: Bank One; Wausau Insurance; General Tire; Mobay Chemical; Dayton Citizens Federal; Cambridge Savings and Loan; Guernsey Savings and Loan; Akron Beacon Journal; Key Bank; Zanesville Art Center; Southwest General Hospital; Sargent-Laessig Museum of Fine Arts; and many other corporate and private collections.
Workshop Supply List
Please feel free to utilize whatever colors and brands of paints you are accustomed to
using. The majority of colors I have selected for my palette are relatively transparent and
lightfast. My approach to watercolor specifically lends itself to painting in a transparent
manner. Generally speaking, whenever I list the colors that make up my palette, many students
feel as if they have to purchase these particular colors which is absolutely not necessary.
Switching brands and/or colors for a workshop can sometimes interfere with the creative
process and therefore just bring the paints you are presently using or whatever floats your boat.
Nonetheless, in order to satisfy everyone’s curiosity, the colors I utilize include:
MANGANESE BLUE HUE, AZO ORANGE, QUINACRIDONE ROSE ,
PHTHALOCYANINE BLUE, CADMIUM ORANGE, BURNT UMBER,
ULTRAMARINE BLUE, GAMBOGE, QUINACRIDONE RUST,
SAP GREEN, NICKLE QUINACRIDONE GOLD, BURNT SIENNA
Please bring whatever painting surfaces you generally use. For those who are curious, I work
on a variety of different types of painting surfaces, such as watercolor paper (HP & CP) and
illustration board (HP & CP) but presently prefer Yupo. Nonetheless, it should be noted that all
of our workshop painting assignments can be pursued on whatever painting surface you prefer
to use. No matter what type of painting surface is utilized, students should plan on using
approximately 1 to 2 painting surfaces per day depending on how fast and large they are
accustomed to painting. Remember, full sheets can always be cut to smaller sizes to accommodate
different daily exercises and/or individual painting pursuits. Watercolor blocks are acceptable. In
the event that you plan to use watercolor paper, I personally feel that it should be a heavy weight
paper of 140 lb. or more, unless you are working with a synthetic surface such as Aquarius
watercolor paper. In the event that you plan to use Yupo, I highly recommend using the heavier,
bright white 144 lb. paper as the thinner sheets have a tendency of resisting paint.
Please note that synthetic blend wash brushes are highly recommended, as pure synthetic
bristles will have a tendency of lifting the paint and thus causing undesirable effects. Bring
whatever brushes you are currently using in addition to a 1” and 1-1/2” flat, synthetic blend
wash brush and a #6, #7, or #8 round brush (synthetic, synthetic blend or sable). Please make
note that sable brushes are excellent brushes to use but are not required. The following list of
brushes represent what I enjoy using but are not required: Silver Brush Black Velvet Series
3008 Square 1”, Winsor & Newton Series 965 Wash Brushes (1-1/2”, and 2”) and a Raphael
8404 or 8408 round brush size #6.
Since every artist’s needs are uniquely different, please use the following list at your own
discretion. This list can also serve as an inventory sheet as there is nothing worse than
discovering you left your palette at home.
• VERY FINE and SOFT MIST spray applicator that is not too forceful (this type of spray
applicator can be purchased at any beauty salon outlet supply store ex. Sally’s Beauty
• paper towels
• easel if applicable (tables will be provided for indoor workshops)
• “Factis” white eraser or kneaded eraser and/or both
• pencils #2 (just bring an ordinary #2 pencil... mechanical or wooden)
• watercolor pencil can be used for sketching on Yupo in the event that you elect to pursue this
surface (just one neutral watercolor pencil will suffice, such as blue, grey, tan, etc.)
• water container
• sketchbook (any sketchbook will suffice, but if you are in need of buying one, I highly suggest
either the Aquabee Super Deluxe Sketchbook 9” x 12” or Strathmore Visual Journal Mixed
Media 9” x 12” Sketchbook)
• photo and/or sketchbook references (for indoor workshops only)
• drawing board (to serve as a support for your painting surface... Gatorboard, light wooden
drawing board, etc.)
• white artist tape (for securing the painting surface to the mat or your drawing board and
possibly using it as a masking agent)
• Kleenex with NO lotions or additives (for lifting color off your painting surface)
• Scissors or X-acto knife (not required but they sometimes come in handy for cutting your
paper surface and/or templates for lifting paint)
If you have any questions regarding the workshop materials, please feel free to contact me at:
Looking forward to having you in class.
Registration is open to CCAL members only until February 3 for $150 ($50 minimum deposit required).
Registration is open to all artists beginning February 4. Non-members pay $155 ($50 minimum deposit required).
CCAL Member - Balance Due
This 'ticket' allows registrants who have ALREADY paid their initial deposit of $50 to pay the balance remaining for this workshop.$100.00
Non-Member - Balance Due
This 'ticket' allows registrants who have ALREADY paid their initial deposit of $50 to pay the balance remaining for this workshop.$130.00