Classes and Workshops
The Weekly Paint-In's and First Wednesday Class Demos are conducted for Members only, taking place during the Paint-in. The members may take advantage of the short class or not.
PLEASE NOTE: Workshops are open to the public. Any non-member can join WAA and take advantage of savings for the cost of workshop. Class sizes may be limited. *
For more information, either for a class or workshop, please contact: Susan Barnard at susanebarnard@gmail.com
Forms for Workshop Presenters link
*Tuition is fully refundable up to 7 days before the workshop start date.
Waterway Art Association reserves the right to cancel any class that does not meet minimum attendance requirements. All payments will be refunded if the class is cancelled by the organization.
C B Berry building
Wednesday Paint-In
Bright well - lit workspace
Join Class Demos or work on own art pieces
Join Class Demos or work on own art pieces
CB Berry Community Center has large accommodating space to paint!
Join Class Demos or work on own art pieces
Join Class Demos or work on own art pieces
Join Class Demos or work on own art pieces
Collaborate with other artists
Join Class Demos or work on own art pieces
Collaborate with other artists
Wednesday Paint-in session
Class Demonstrations
Take Advantage of Your Membership!
Every first Wednesday, members can take advantage of 20-minute demonstrations from other members with experience in various styles and mediums. These are presented during and in the same room as the Paint-Ins, and are free for members to participate!
If you have a creative technique or art related information you would like to share in class, contact Diane White at diane.white257@gmail.com
Form to request to be a Class Demo Presenter link
Check out Event Calendar to see the Class Demos coming up
2026 Workshops
Painting Clear Reflective and Refractive Water and Clouds (3 days)
Painting Clear Reflective and Refractive Water and Clouds (3 days)
Wednesdays, Monday- January 21,26, 28, 2026
Master Copy with Sabine Beackmann
Painting Clear Reflective and Refractive Water and Clouds (3 days)
Wednesdays, February 4-11-18-25, 2026
Plein Air With Clay Johnson
Art in Perspective-from Referance to Canvas with Jack Hurley
Wednesday, March 25, 2026
Art in Perspective-from Referance to Canvas with Jack Hurley
Art in Perspective-from Referance to Canvas with Jack Hurley
Wednesday, April 8, 2026
Oil Painting with Cold Wax With Jane Wolfgang
Oil Painting with Cold Wax With Jane Wolfgang
Oil Painting with Cold Wax With Jane Wolfgang
Wednesday, May 13, 2026
Painting Clear Reflective and Refractive Water With Sabine
January 21,26,28, 2026
Wednesdays, Monday- January 21,26,28, 2026
10am-4 pm
Workshop Overview: Painting Clear,
Reflective & Refractive Water
3-Day Intensive Workshop
Instructor: Sabine Baeckmann-Murray
Water is never just water. It is a living mirror—responding to everything above, below, and
around it. In this immersive three-day workshop, artists will learn how to truly see water in all its
complexity and translate that understanding into convincing, luminous paintings.
Participants will discover why painting clear water is less about the water itself and more
about interpreting the elements that define it—light, depth, color, surface movement, and
reflection. Reference photos become starting points rather than strict instructions; artists will
learn how to make intentional creative adjustments to strengthen their compositions and
achieve greater realism or expressive effect.
PRE-WORKSHOP CANVAS PREP (18”X24” MIN)
Please prepare your canvas with a light burnt sienna
wash BEFORE coming to the workshop. Mix some burnt
sienna paint with enough mineral spirits, or a 50/ 50
medium/ water mix for acrylics, to make a thin wash.
Cover the front and all sides of the canvas, then use a
rag to rub the wash into the canvas and wipe off any
excess wash. Canvas should be dry to the touch within
an hour or so.
DAY ONE – What’s Beneath: Topography, Color & Refraction
Stage 1: Topography – The Underwater Landscape
We begin by examining what sits beneath the surface: rocks, sand, vegetation, and their shapes,
textures, and values—what you would see if the water were drained away.
Color Through Water
Participants will learn how submerged elements shift when water is added back in—how sky color,
depth, angle, and clarity transform the true colors beneath.
Refraction & the Body of Water
Using the mental exercise of “pouring the water into a glass,” we explore:
• What is the actual color of the water?
• How does refractive index (≈1.33 and variable with temperature) affect what we see?
• How do objects bend, distort, or shift under the surface?
This day builds the essential foundation: what’s under the water determines much of what appears
above it.
DAY TWO – What’s Above: Reflection & Surface Behavior
Stage 2: Reflection – Sky, Light & Overhead Elements
We explore how the world above the water influences what’s seen on its surface:
• How reflections form
• How moving vs. still water alters shapes
• How to interpret angles, lighting, distortions, and shadowing
Atmospheric Note: Clouds in Reflection (Brief Introduction)
Because clouds affect water’s reflected color and value, we introduce:
• Recognizing distant vs. close clouds
• Simple cloud shapes and light direction
• How cloud color is determined by atmosphere, humidity, and sun angle
• Translating cloud shapes and colors into believable water reflections
(This is only a preview—full cloud instruction happens on Day Three.)
Stage 3: The Water’s Surface – Texture, Motion & Tonal Strength
Artists learn to paint:
• Smooth/glassy water
• Ripples, waves, and subtle motion
• How surface texture affects what is visible below or reflected above
• How to intensify saturation, deepen shadows, and heighten highlights as elements move into
the foreground
DAY THREE – The Sky Above: Clouds, Weather & Atmospheric Color
This day is dedicated entirely to painting clouds and atmospheric conditions — one of the most
important influences on the look of water. He (e are some topics we will touch on:
Cloud Structure & Anatomy
We break clouds down into clear, paintable components:
• Light source and highlight planes
• Core shadows
• Soft vs. hard edges
• Depth, layering, and vapor density
• When clouds “sit on” the horizon vs. float overhead
Distance, Scale & Perspective
Artists learn to determine — and paint — cloud distance using:
• Edge sharpness
• Color shifts
• Value compression
• Overlapping forms
• Atmospheric perspective
Cloud Color & Light Behavior
We explore why clouds are never simply “white”:
• How atmosphere scatters color
• Temperature and humidity effects
• Sun angle and time-of-day influence
• Painting warm, cool, luminous, or muted clouds
• Translating cloud color into water reflection accurately
Weather & Special Atmospheric Conditions
We cover how to paint:
• Sunset and sunrise clouds (warm glow, reflective color bands, transitional gradients)
• Storm clouds (density, darkness, active edges, dramatic contrast)
• Rain clouds (soft bases, curtain effects, haze)
• Fog and mist (diffusion, lost edges, reduced contrast)
• Post-storm light (silver linings, broken light shafts, vivid reflections)
Clouds + Water: Putting It All Together
We finish by combining atmospheric concepts with reflection logic to create paintings
that feel cohesive, luminous, and believable.
supply list
Paints (tubes)
Oils, Water-Mixable Oils or Acrylics
Burnt Umber
Burnt Sienna
Yellow Ochre
Titanium White
Cadmium Yellow
Paynes Gray
Quinacridone Magenta
Ultramarine Blue
Cobalt Teal or Turquoise
Sap Green and/or Phthalo Green
Transparents (highly recommended)
Transparent White
Transparent Yellow Oxide or Quinacridone Gold
Transparent Red Oxide
All colors should be avatfable from Jerry's or
other online art materials suppliers.
(Your favorite brands are acceptable)
-My 'go to' for oils are Lukas 1862 Professional Oils,
Schminke Nonna Oils, and Daniel Smith Oils
-For Water-Soluable oils, I
Mixable Oils
-For Ac1ylics, Golden Open or Heavy Bodied ac1ylics and Lukas C1yl Pastas heavy bodied ac1ylics
Paint Brushes
3/8" or rh" Dagger (hog bristle or Syntl1etic)
r/ 4" Dagger
#4 and #8 Filberts (bristle or syntl1etic)
#ro or #8 Flat
# 4 Bristle fan
#o, r, 2 syntl1etic pointed rounds for details
Mediums- ESSENTIAL!!
For Oils:
Winsor and Newton Liquin Original
Winsor and Newton Liquin Impasto
Winsor and Newton Liquin Fine Detail
(Otl1er favorite brands are acceptable)
ODOR-FREE mineral spirits or similar for cleaning
For Acrylics:
Liquitex Professional Slow-Dri Blending Medium
Golden Heavy Body Gel medium (gloss or matte)
(Other favorite brands are acceptable)
Canvas 18"x24"x1.5" or larger pre-gessoed stretched canvas
RECOMMEND BRINGING A SECOND CANVAS SIZE -EITHER 9X12 OR 11X14
- easel (floor or table)
- your palette complete with eitl1er a cover or plastic wrap
- a small palette knife if desired
- a sealable container for mineral spirits or a container for water
- rags or paper towels/baby wipes are also helpful
(See write up on Canvas Prep in Supply Area below.)
Master Copy With Sabine Beackmann
Wednesdays, February 4,11,18,25, 2026
10:00-4:00
Workshop Description
This extended workshop focuses on the time-honored practice of creating a Master Copy—a painted study based on a masterwork by a historically significant artist. Rather than imitation for its own sake, the goal is careful investigation: understanding how great paintings were built and why they work. By working directly from a master painting, students will explore composition, color relationships, value structure, edge control, brushwork, and overall pictorial design. Each student will select a single masterwork and devote the full course to thoughtfully interpreting it, allowing time for layering, revision, and refinement. This workshop is designed for intermediate to advanced painters who are ready to slow down, look closely, and engage deeply with the painting process.
Why Paint a Master Copy?
Creating a master copy allows artists to step inside the decision-making process of highly skilled painters. Each brushstroke, color choice, and compositional adjustment reveals information about the artist’s intent and technique. Through this process, students are not merely copying an image—they are learning to decode the visual language of master painters. This practice strengthens: • Observational skills • Color mixing accuracy • Understanding of value and temperature • Confident, purposeful brushwork • Overall painting discipline and patience The insights gained often translate directly into stronger original work.
Choosing a Master Painting
Students are encouraged to explore painters they admire, preferably artists working prior to 1900*, as these works often exemplify strong foundational painting principles. High-resolution images from museum websites and quality art books are excellent reference sources. Before the workshop begins, students will submit up to three potential paintings for instructor review. From the approved selections, each student will choose one painting to serve as their master copy for the duration of the course. Guidance with color palettes, materials, and format will be provided as needed. * More modern artists works may be submitted if their subjects fit the tenor of the workshop. For example, if you love painting wildlife, Robert Bateman would be an acceptable master to copy
Materials & Skill Level •
Medium: Oil (preferred), acrylic, or water-soluble oils • Canvas size: Minimum 18” x 24” (larger may be appropriate depending on the original painting) • Level: Intermediate to advanced painters only • Materials: Most students at this level already have a solid supply of preferred paints and brushes. Bring what you are most comfortable with, but don’t hesitate to contact me with questions. A detailed suggested materials and tools list will be provided prior to the workshop.
Class Structure & Instruction
Students will begin the workshop on an imprimatura-prepared canvas, which should be completed prior to the first class session. This allows us to use in-class time efficiently and focus immediately on structure, paint handling, and color relationships rather than surface preparation. Students also have the option of lightly sketching their approved master painting in advance, should they prefer. Alternatively, compositional sketching can be completed during the first session using paint. Either approach is acceptable and will be discussed individually to suit each student’s working style. From this foundation, paintings will develop in structured stages—beginning with establishing proportion, major shapes, and edges, followed by block-ins and successive refinement. Emphasis will be placed on working thoughtfully and deliberately, allowing the painting to evolve through careful observation and adjustment. Throughout each session, the class will examine what makes the selected masterworks exemplary paintings. Discussion and demonstration will address: • Composition and pictorial design • Value structure and focal emphasis • Color relationships, temperature, and harmony • Brushwork, edges, and surface quality Regular group discussions and peer-sharing moments will allow students to learn not only from their own work, but also from observing the challenges and breakthroughs of fellow artists.
Workshop Intensity
Because this is a sustained, multi-session project, students should expect a focused and immersive experience. The four-week format allows time between classes for reflection, optional at-home work, and problem-solving, making it ideal for a project of this scope and ambition.
Picking a Master Work
Send at least THREE images of master works you’d like to use as reference to Sabine at sabinebaeckmannart@gmail.com.
Please include the master artist’s name and indicate order of preference on your submissions. Be prepared to share why you chose your piece to paint during this workshop.
Are you a bit lost as to which masters to look at? Please contact Sabine by email or text (716) 704-5588 with your questions. I’d be happy to help you narrow down your choices
Supply List
These are my Go-To colors and brushes.
Obviously we all have our own brand preferences and our own favorite brushes
. Please bring what you’re comfortable with.
Paints (tubes) Oils, Water-Mixable Oils or Acrylics
- Burnt Umber
- Burnt Sienna
- Raw Sienna Yellow Ochre
- Cadmium Yellow •
- Hansa Yellow
- Titanium White •
- Paynes Gray •
- Phthalo Blue Cadmium Red Ligh
- Quinacridone Magenta
- Ultramarine
- Blue • Cobalt Teal (or Turquoise)
- Sap Green or Hunter Green
- Phthalo Green
Transparents (highly recommended)
- Transparent White
- Transparent Yellow Oxide or Quinacridone Gold
- Transparent Red Oxide
All colors should be available from Jerry’s or other online art materials suppliers. (Your favorite brands are acceptable) -My go to’s for oils are Lukas 1862 Professional Oils, Schminke Norma Oils, and Daniel Smith Oils -For Water-Soluable oils, Lukas Berlin Artist Water Mixable Oils -For Acrylics, Golden Open or Heavy Bodied acrylics and Lukas Cryl Pastos heavy bodied acrylics
- Canvas 18” x 24” x 1.5” or larger pre-gessoed stretched canvas
Paint Brushes
- 3/8” or 1/2” Dagger (hog bristle or synthetic)
- 1/4” Flat or filbert for small areas #4 and #8 Filberts (bristle or synthetic)
- #10 or #8 Flat or Bright #4
- fan • Mundy Mop or Smoosher #0,
- 1, or 2 synthetic pointed rounds for details
Please bring brushes as listed or as close as possible. As usual, I will have some daggers and mops available for purchase in class.
Mediums-
ESSENTIAL!! For Oils: (Other favorite brands are acceptable)
- Winsor and Newton Liquin Original
- Winsor and Newton Liquin Impasto
- Winsor and Newton Liquin Fine Detail
- Winsor and Newton Blending and Glazing Medium
- Linseed Oil or similar for cleaning brushes/thinning oils
- ODOR-FREE mineral spirits or similar for cleaning For Acrylics:
- Liquitex Professional Slow-Dri Blending Medium
- Golden Heavy body Gel medium (gloss or matte) (Other favorite brands are acceptable)
Other
- Please also bring an easel (floor or table) if you can -
- your palette complete with either a cover or plastic wrap -
- a small palette knife if desired -
- a sealable container for mineral spirits or a container for water -
- rags or paper towels / baby wipes are also helpful
Canvas Prep-Please See Supply list for Canvas Prep Directions
Painting with Terry Harrison
Mondays February 9- March 30
9:30-12:30
Eight Monday Mornings - Acrylic, Watercolor or Oil Paints.
The materials list will be discussed on the first day of class in depth.
We will also discuss options for painting mediums and brushes in class.
This class is for students working in watercolors, oils, and acrylics. We will explore the fundamentals of painting with any subject matter. We will learn to apply the tried and true methods passed down to us by artists from the past to improve our overall painting skills. This class is designed for any skill level, especially beginners. The goal of our study will be to enhance each student’s knowledge of drawing, color and composition as they apply to the student’s painting.
Participants will be encouraged to work from life as well as from photography. Understanding the basic approach to painting help an artist to be more confident regarding the outcome of their work as they strive to obtain that often elusive image they wish to capture. It’s that challenge that keeps us fascinated as painters and helps push us to the next level with our work. Each student will receive individual help as well as learning with the whole class.
A few particular areas we will focus on are learning to paint the types of light we encounter with our subjects, understanding warm and cool color as it applies to light and the “form principle”. We will cover ways to strengthen our compositions not only by the placement of objects but also through the use of value keys. Learning about the various treatment of edges will make our painting surface more interesting.
All of these elements and more will help us draw in a viewer looking at our work. With practice and knowledge, we can work towards becoming the artists we would like to be. It’s a challenging journey, but satisfying and fun along the way
First day of class:
All -purpose drawing paper
pencils: (2 H, 2 B, 6 B)
a kneaded eraser.
a simple object to draw.
This can be as simple as a coffee cup.
Supply list
Drawing materials:
- All purpose drawing paper
- assorted drawing pencils
- example, 2H, 2B,4B, 6B
- kneaded eraser
- graphite transfer paper
- Printed photo reference for drawing and
- painting.
Oils or Acrylics:
- You will need
- a stretched canvas,
- (a table top easel, optional).
- palette for your specific painting
- medium,
- brushes,
- container for odorless thinner or water
- paper towels
Watercolors:
- Arches 140 lb. cold pressed
- watercolor paper
- a prepared board for stretches
- staple gun or a
- watercolor block
- watercolor palette
- water container
- brushes
- paper towel
- Watercolors
Acrylics and Oils:
Warm colors:
- Cadmium Yellow Med.,
- Cadmium Red Med.,
- Cobalt blue,
- Cerulean Blue
Cool colors:
- Cadmium Lemon Yellow,
- Permanent Alizarin
- Crimson or Permanent Rose, (analternate color is Quinacridone Red),
- Ultramarine Blue
- (White Permalba or Titanium White is for Oils and Acrylics Only)
Please buy artist quality paints, for example M Graham or Holbein watercolors.
Holbein, Charvin, Winsor and Newton, etc oil colors. Waterbased may also be used.
Good quality acrylics like Holbein or other artist quality paints are again recommended.
Brushes:
For watercolor-
- I use, Darer Rowney Sapphire brush number 10 round
- and number 1 round., Daler Rowney Skyflow Aquafine 2" or 1 1/2" flat brush
Purchase from Dick Blick, Jerry's Artarama, Amazon and Jackson's Art Supplies
Rosemary and Co. Eradicator purchase this brush from Wind River Arts
Mary@windriverarts.com or call (972) 342-4947.
Oil and Acrylic brushes:
- Filbert shape brushes in bristle, or synthetic bristleand soft brushes like Black Swan, Silver brush, (Ruby Satin) an Master's Touch
- flibert synthetic bristle.
These brushes are just suggestions, they are generally what I use. If possible use artist quality brushes.
- Sources for materials: Jerry's Artarama, Dick Blick, Hobby Lobby, Wind River Arts,
Jackson's Art Supplies and Amazon
Painting with Acrylic Cold Wax With Gwen Pikul
Wednesday, March 11, 2026
9:30-12:30
HAVE FUN CREATING YOUR ONE OF A KIND UNIQUE, COLORFUL COLD WAX PAINTING!
We will be painting in layers with acrylic & cold wax on 8x8 prepared canvas panel boards.
I will instruct the technique of a gentle touch and layering to create a beautiful, textured and colorful creation.
Using paint spreaders and palette knives, we will achieve a loose somewhat abstracted appearance from your reference photo. This allows for a unique one of a kind painting.
Supply list
- Reference photo- A simple landscape or seascape is a great way to begin painting with cold wax. I will also bring samples of my work to be referenced.
- Acrylic paints- Bring your favorites. Tube paints only. Be sure to include colors to achieve your reference photo paintings. (no craft paints please) craft paints do not mix well with the cold wax.
- Flexible smooth paint/resin spreaders. (asst. sizes) Be sure they are flexible…rigid spreaders for Bondo etc., do not work well. ( These are available on Amazon and also at Hobby Lobby)
- Palette knives - bring as many sizes as you have. I will talk about each and the effects you will achieve by using them.
- Brushes - small to medium flat & angle edge, and small detail brushes
- Silicone paint brushes (Flat painting tool) 1in & 2in. (inexpensive - also available on Amazon and at Hobby Lobby)
- Large Ziplock bag- for dirty palette knives after use
- Gloves if wanted
- Paper towels
- Water container
- Ruler
- Disposable paper palette or parchment paper
- Canvas-*** I will be providing 8x8 pre-prepped canvases for the sake of time. Cold wax - this medium will be provided by me also
Plein Air with Clay Johnson
Wednesday , March 25,2026
9:30-3:30
We will begin with thirty minutes or so of classroom discussion and demonstration, followed by outdoor painting. We will go from the best method to start and explain the following subjects :
-Arranging a simple palette
-Composing the panel based on major shapes
-Using an imprimatura or toned canvas
-Wipe out / underpainting
-“Oiling out” explained
Supply list
- Hat with a sun brim
- Sturdy shoes
- Extra sweater, wind cheater, or nylon rain jacket to keep in car for use as needed
- Bug repellant
- Water
- Wet wipes for your hands can be useful & convenient.
- Paper towels
- Painting knife, for mixing as well as painting
- Medium & “palette cup” with lid - Galkyd Lite. It begins to dry fast outside in the wind and air, so I usually add 10% oil. Graham walnut/alkyd medium is also good, and dries more slowly.
- Solvent & small cup
- Cloth rag
Painting supplies:
- Two small panels, maybe around 8x10
- Wood or paper palette (pre laid out when possible)
- Bristle brushes, a few flats & rounds sizes 2 through 8
- Soft, synthetic brushes, a couple will do, one of which is a small soft round
- Hardware store cheap bristle “chip” brushes- 1/2” and 1”
- painting knife
- Easel of choice
- paper towels & rag
- medium & solvent
- Paint box to hold it all
- Basic Paint:
Red, Blue, Yellow, White.-For example: Quinacridone red, Ultramarine blue, and Cadmium yellow light, White. - Extended Basic Paint (could include) :
Red, Violet, Blue, Green, Yellow, Orange.For example: Quinacridone red, Quinacridone purple or violet, Ultramarine blue, Viridian (PG18) or Pthalo Green (PG7), Cadmium yellow light, Winsor Orange (PO72). And White.
Art in Perspective - From Referance to Canvas With Jack Hurl
Wednesday, April 8,2026
9:30am to 3:30pm
Taking an 8 x 10 photo and transferring the scene to a larger paint surface. Making the piece relatively proportional to the original. We will be using our subject and our eye to create a visually interesting art piece. I suggest that you bring some varying size paint surfaces to try and apply this practice. If possible, once the work has been transposed and drafted, you could proceed with the underpainting process preparing the canvas for your colors and creativity!
supply list
- 2 ft ruler or T-Square.
- Drafting pencils
- Kneaded eraser,
- sharpener
- One or two painting surfaces (paper, canvas) depending on medium. 16 x 20 size would be easiest.
- Bring an 8x10 photo that interests you or I can provide an 8 x 10 photo to work from.
- White, black, sienna paints for underpainting
- if needed Paint medium and odorless paint thinner,
- paper towels
Creating Interest with Textural Backgrounds in Watercolor
With Lourdes Rasdall Saturday April 18, 2026
9:30am to 3:30pm
In the first part of this workshop, we will prepare backgrounds full of texture and “resists”. After they dry, we’ll come back and paint over them. Because the backgrounds will already be so full of texture, the actual painting part will be a breeze. I will walk you through designing your painting from beginning to end, a selecting a color palette that will help convey your message. The end result will be your own personal creation. I will have reference materials, but you are also welcome to bring your own. Suitable subjects for this technique are simple, large shapes, such as fruits and vegetables, enlarged birds and fish shapes, human animal figures, large circles and other geometric shapes. Not suitable: small, detailed subjects and complicated scenes. If you typically paint small, consider using larger paper and larger brushes.
supply list
- Watercolor paper (140lb, cotton not synthetic paper), pads, blocks or loose sheets, 12x16 or larger will be best for this workshop, either cold or hot press.
- Small, cheap, watercolor spiral notebook for color mixin , thumbnail sketching and notes.
- Watercolor paints, transparent colors only – bring what you already have but tubes, not pans
- Watercolor brushes – Flats and rounds in different sizes – you should have a large flat, at least 1” or larger and a 12 or 14” round
- Watercolor palette – whatever you have • A couple of disposable Styrofoam or white plastic plates
- A support board slightly larger that your paper (unless you’re using watercolor blocks as your paper)
- A bottle or jar of gesso
- Small plastic spatula or plastic hotel key.
Optional (bring only if you already have these; I will have some for classroom use):
- Stencils and stamps with interesting shapes (non-representational) •
- Other mark-making tools you may use in mixed media
Location
Creating Visual Depth Through Layering -Mary Beth Bradbury
Wednesday, April 22,2026
9:30am to 12:30pm
In this hands-on workshop, participants will learn how to create visual depth using layered techniques with acrylic paint and water-soluble media. Through guided instruction, they’ll explore six key methods - resist, dark over light, light over dark, glazing, combining transparent and opaque layers, and stencil-based mark-making.
The final product will be a personalized sample book, with each page showcasing a different technique in 3–4 distinct layers, serving as a lasting reference for future painting projects.
supply list
- · 6 -12 sheets of watercolor or mixed media paper between 5x7 and 11x14
- · Transparent/Semi-Transparent Acrylic paints: primary set or 3 -5 favorite colors, + white + black (paint label explainer info)
- · Glazing medium (optional)
- · Oil pastels or white or clear wax crayons: a few colors will do
- · Water-soluble media (A handful of colors, Neocolor II, watercolor pencils, Inktense blocks, etc., whatever you have)
- · Mark-making tools: sponge, palette knife, silicone scraper, stencils, bottle caps, stamps, etc.
- · a few stencils
- · Brushes (round, flat, foam) a stiff stencil brush will come on handy
- · Paper towels & water container
- · Baby wipes (optional)
- · Blue painters tape or masking tape
Oil Painting with Cold Wax with Jane Wolfgang
Wednesday, May 13, 2026
9:30am to 3:30pm
Have you been wanting to explore this innovative way to use oil paint and cold wax? Join me for an introductory workshop where you will experiment with this expressive and inspiring medium in an encouraging environment.
Create both abstract seascapes and landscapes while you learn about composition, color and of the many ways to use various tools to apply the paint and create unique finishes.
No prior artistic experience needed! You will be able to leave the workshop with at least two completed paintings and a love of cold wax! and perhaps some new friends and ideas!
Feel free to bring a snack and or drink.
supply list
Oil paints -- Bring the oil paint that you use.
I WILL HAVE SOME OIL PAINTS FOR YOUR USE. If this is your first time with oils - buying the top of the line brand is not necessary. It is good to have a warm and a cool of each color.
These are the colors that I use:
- Titanium White
- Cad. Yellow
- Yellow Ochre
- Cad. Orange
- Alizarin Crimson
- Cad Red
- Dioxine Purple
- Cobalt Blue
- Ultramarine Blue
- Cerulean Blue
- Sap Green
- Permanent Green
- Light Asphaltum (Gamblin)
- Transparent Red Oxide/Earth Red
- Brushes - you won’t really use them but bring a few if you have them.
- Old brushes!
- Latex Gloves
- Blue Painters tape
- 1 Roll of Paper towels
- Plastic or metal palette knives
- Gessoed panels - I prefer DaVinci pro medium textured gesso panels (do not use ultra smooth) need some tooth! Bring at least 2 - 3 panels. No larger than 16 x 20 or 12 x 24. *I purchase mine from Jerrys Art Arama
- Messermeister (Bowl Scraper) Can be purchased on Amazon.
- Any personal photos/printouts of seascapes and landscapes. I will supply photos but feel free to bring your own.
- We will get messy!
- Please bring an apron or paint shirt. and LOTS OF PAPER TOWELS!
- feel free to bring any “fun” collage papers, stencils, oil pastels, tissue paper that you may have around the house to use and or share.
What will be provided: Gamblin Cold Wax Some oil paints
- Gamsol Odorless Mineral Spirits
- Freezer paper to use as a palette/table cover Assorted stencils
- Assorted colored tissue paper
- Assorted collage papers
- baby wipes
- bubble wrap
- popsicle sticks
- bamboo skewers
- Printed images of seascapes and landscapes
- Instructional handouts
- baby oil (for cleaning)
- oil pastels brayers
