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Watercolor Workshop: Birds in Their Habitats with Molly Hashimoto

Thursday, May 13, 2021
10:00 am12:30 pm
Watercolor Workshop: Birds in Their Habitats with Molly Hashimoto

Learn how to place birds in landscapes: forests, wetlands and more.
We'll begin with some warm up bird sketches, refining them, and then proceed to the surrounding landscapes. See my complete supply list for info on what to have ready; whatever materials you currently use are fine, but it is always great to use Arches 140 lb. cold press watercolor paper.

Cost: $53 members, $60 non-members
Limit of 20 participants
After registering, you will receive the Zoom link information

Watercolor Supply List:
Important note:
The materials you already have are fine: the only thing I really urge you to buy is Arches 140 lb. cold press watercolor paper. I like its receptivity to smooth washes which can be important for conveying qualities of light. Inexpensive brushes and paints, pre-made pan palette paint sets are fine—Sennelier, Yarka, Winsor and Newton all make very nice ones. Stay away from the Koi sets, though—colors are very hard to handle.

Drawing pencil HB (for watercolor undersketches)
Artist eraser, white Mars plastic (made by Staedtler)
Paper: Arches 140 lb. cold press watercolor paper, 100% rag cut to your preferred size for painting. Check out the new horizontal and square format blocks, too.
Lightweight board for paper mounting for ease of painting if you use single sheets with clips or rubber bands.
Brushes: Sable or sable/synthetic blend watercolor brushes: #6, and #4 round, ¾” flat.
Other sizes and types are optional. Do not buy a synthetic brush in #8 size: they are too stiff and do not lay smooth washes. Synthetics are fine for #4 and smaller sizes. I like Da Vinci Maestro sable rounds the best, but they are expensive. A sable/synthetic blend works well and is cheaper. Other brushes I like using are smaller flat brushes with chisel edges (which are useful for softening edges, and lifting out), riggers or liners for small line work.
Water and water containers or waterbrushes
Palette: For studio work I use the John Pike palette in conjunction with the San Francisco Slant palette. For outdoor work, I use the Alvin 18 pan with blue waterproof seal. For either palette, fill with the following tube paints:
Paints: I use Daniel Smith watercolors
Reds: Cool: permanent alizarin crimson
Warm: pyrrol scarlet
Blues: Cool: phthalo blue (green shade)
Warm: phthalo blue (red shade) or ultramarine blue
Yellows: Cool: hansa yellow light
Warm: hansa yellow medium
Violet: carbazole violet
Browns and golds: quinacridone burnt orange, yellow ochre or raw sienna (you can substitute burnt sienna for the quinacridone burnt orange).
Other colors you may want to add, in order of their usefulness: cobalt blue, hansa yellow deep or new gamboge, perylene green, perinone orange, indanthrone blue, Chinese white or Winsor and Newton permanent white gouache-it has more covering power than Chinese white.
Paper towels, rags
Water containers
Optional: Winsor and Newton Masking Fluid, white pens (I like Posca paint pens for corrections)
Sea sponge for corrections, Cheap Joe’s Fritch scrub brushes, also for corrections