January 15,16, Thursday, Friday from 9:00 am to 4:00 pm
This workshops is almost full, a waiting list will be available.
Early Bird (until December 14) - $150 LAAG members / $200 nonmembers Regular - $200 LAAG members / $250 nonmembers
To register contact Brenda Legendre at or 225-769-2991
Every human being is born with a creative potential and a unique destiny. But only a few discover their real talents and find the resources and inspiration to make a living at the work they are most equipped to do. Keith Andry, nationally recognized watercolorist, is one of those rare individuals who has dedicated nearly all of his life to developing his talent.
Keith explains that his watercolors are an attempt to communicate not only what he sees visually but also what he feels and senses. He says that, whereas a reporter simply transcribes the truth, the artist must translate the truth into a universally understood language.
To watch Keith paint is to see the blank paper come to life with strong design, bold colors, and a unique "painterly" style that combines wit, philosophy, and reporting into a single work of art. His approach to watercolor painting encourages the student to loosen up and paint with confidence regardless of the subject matter.
Keith's workshops have met with great success due to his warm willingness to devote himself entirely to the needs of his students. Those who have studied with him have observed that he approaches his workshops with the same demanding professionalism that he expects of himself and his work.
So join us for a fun-filled learning experience and do not miss this opportunity to study with an excellent teacher and superb artist.
LEVEL: Beginners through all levels of advancement
How to plan a picture
Design principles and composition
Major shape divisions
Qualities of edge
Working with a limited palette
Step-by-step painting process
Capturing the essence of a subject
Simultaneous contrast in color and value
Gradation in color and value
SCHEDULE: (9 am - 4 pm)
Morning Session: Lecture, exercise, demonstration
Noon: Break for lunch (bring brown bag lunch)
Afternoon Session: Individual work with supervision
Final Session: Group or individual critique
WHAT TO BRING: See the Supply List. Some supplies will be available for purchase at the class.
Bring your favorite subject (landscape, seascape, still life, figure, etc.) This can be from photos, one of your previous paintings, or a sketch.
D'Arches 140 lb. cold press or rough watercolor paper (22" x 30") White Card Stock or preferably a cheaper grade watercolor paper will be needed for value studies.
3/8" plywood board approximately 16" x 23"
Large plastic watercolor palette with at least 8 wells - I recommend the Robert E. Wood palette. Although, a white plate will work.
This is what I use: Robert Simmons white sable wash brush 1½"
Grumbacher Aquarelle 1" and ¾" flat brushes
No. 6 and No. 8 Sabeline watercolor round brushes
No. 4 Winsor & Newton watercolor round brush
No. 0 or No. 1 quality round brush
Since tables are available, you do not need an easel. However, your watercolor board should be securely held at about a 30 degree angle. A cardboard box works well as a prop because it can be used to hold paint supplies and brushes
For the workshop you may use student grade watercolors. I use Winsor & Newton artist quality paints. I recommend a 3-color limited palette of Paynes Gray, Yellow Ochre, and Burnt Sienna. The following colors are also on my palette. Feel free to add your favorite colors to this list:
Opera (Holbein w/c)
A milk jug to hold water
Small bucket for water
Sketch book (for taking notes also)
Old credit card
Art Masking Fluid (Winsor & Newton)
Small bar of soap (hotel soap works great)
2B pencil and Eraser
4 clips to hold watercolor paper to the board or staple gun (I pre-stretch my paper and staple to the 3/8" plywood board.)
This list contains the basic supplies I feel are essential to watercolor painting. Please feel free to add any favorite brush, paper, color, etc. to this list.
Born in Thibodaux, Louisiana, Keith began finger-painting at the age of two and sold his first painting at age six. At the age of eight, his art began an award-winning streak that has taken him to national and international juried exhibitions ever since. After attending numerous watercolor workshops with such internationally-acclaimed artists as Rex Brandt, Millard Sheets, Robert E. Wood, Milford Zornes, Frank Webb, and Edgar Whitney, Keith discovered that self-discipline and hard work were the key ingredients needed to become a successful artist. His concentration was on grasping a little from each instructor to develop his own personal style.
With numerous awards and signature memberships in the National Watercolor Society, the Transparent Watercolor Society of America, and the Louisiana Watercolor Society, Keith's reputation has brought his works to many public and private collections throughout the United States and Europe. Keith is listed in Who's Who in American Art and American Artists of Renown, and has been featured in American Artist and The Artist's Magazine.
"Watercolor, being less "forgiving" and providing a challenge, has become my favorite painting medium. The transparency, the airy quality that a watercolor possesses, and the freshness obtained by touching the paper only once, is what I strive to maintain."
"Painting is the way to communicate not only what I see visually, but also what I feel and sense. Planning is my key to a successful painting; I believe that you should plan like a turtle and paint like a rabbit allowing some room for spontaneity."
"I usually begin by designing my compositions as studies in only four values - white, light, middle tone, and dark. After the planning is completed, the sketch is ready to be transferred onto watercolor paper. I begin painting with wet-into-wet techniques, flat washes, and then a little drybrush. My focus is on strong design, the juxtaposition of colors, and the interaction between light and shadow. I strive to express the essence of the subject with the fewest amounts of strokes, giving strength to each painting while still showing sensitivity for the subject. It gives me a great sense of accomplishment to see the blank paper come to life with a "painterly" style that I believe makes my work so unique."