Classes and Workshops

Wednesdays, Thursday January 21,22,28, 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 two-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.

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.)

C.B. Berry Community Center 

Calabash, NC

2250 SC-179

Little River, SC 29566

Download Description and Supply List

Price: $195 Members/ $255 Non-Members 

 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

•  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

• 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.
  
  

CB Berry Community Center 

2250 SC-179

Little River,SC 29566

Download Description and Supply List

Member-$65  /Non-Member-$85

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.

• · 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

C.B. Berry Community Center 

Calabash, NC

2250 SC-179

Little River, SC 29566

Download Description and Supply List

Price: $40 Members/ $60 Non-Members