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Yoga & Painting Holiday in Paradise

Water colour painting

 

Water colour painting

peterLet your creative juices run wild with an ashtanga vinyasa yoga and water colour art retreat this summer with art teacher and ashtanga yoga teacher and practitioner Peter Martindale.

Morning ashtanga yoga classes are led classes with Peter Askew and start at 8am. The art classes begin at 4pm and end around 6pm.

 

peterWith the breath taking landscapes and traditional rustic portuguese villages you will have plenty of scope and time to put your energy into creating long lasting memories that will be hanging on your walls for years to come.

Dates available

17th July to 24th July and 24th July to 31st July You are welcome to stay for two weeks and receive a 25 % discount on the second week.

 

 

heatherAslo joining us throughout July is Heather Buchan, Ayurvedic Therapist. Yoga teacher and cook. Heather will be cooking delicious, vegetarian, whole-food & organic where possible for the whole of July.

 

 

 

 

 

 

"Please note:For those wanting 4-5 hours of yoga practice per day we are still running the dynamics of ashtanga yoga workshops in the afternoon at 6pm"

You are asked to bring your own art materiel's with you. For a list of things to bring please scroll down this page. If you have any questions regarding the art classes then please email Peter Martindale directly at the address below.

petermartindale@btinternet.com

For all other enquires please email

info@ashtanga-vinyasa-yoga.co.uk

 

Drawing and painting and equipment

Yoga in Portugal 2010

 

Aim

My aim is for a course suitable for beginners and those with some experience of painting and drawing.  For beginners I hope to foster an interest and appreciation of painting and drawing.  As a complement to photography, as a personal record – and for future development.  For those with experience I would hope to develop skills – seeing, colour mixing, composition, application (of paint or pencil strokes).

My first choice for subject is the landscape around us – both on the large scale (views - landscape) and the smaller scale (individual features – trees, bushes, details of buildings).  If you are moved to paint by other forces I shall endeavor to tune into your thinking and advise accordingly.

 

Suggested minimum kit

Cushion to sit on, and hat (to shade the eyes).
Pencils, rubber, knife (or pencil sharpener) and pencil sketch book (cartridge paper 135 g/sqm).
Watercolours (tubes or pan) in a palette, two brushes (one as large as you dare!), water (pot & container) and watercolour sketch book (300 g/sqm).

If you just want to draw, skip the watercolours, but bring a couple of sketch books of different sizes.

 

Additional suggestions

Hardware

Sketching stool or cushion.
Sketching easel
Hat with peak or brim.

Paper

For watercolour painting the weight of the paper is important.  The paper needs to be heavy (300 g/sqm – 140 lbs).  You can buy paper this weight in sketch books or blocks, or loose.

For drawing cartridge paper (weight 135 g/sqm) is good.  Again paper of this weight is available in sketch books and loose.

Pencils

A range of pencils are advisable - HB, 2B and 4B.  Pencil eraser and pencil sharpener (a small sharp knife is best).

Charcoal

Charcoal or charcoal pencils are available.  If you use charcoal it is important to ‘fix’ your drawing once completed to prevent it being rubbed away.  Spray fixative is available in art shops.  You will also need a ‘putty’ rubber or similar to erase mistakes.

 

Watercolour paints

Watercolour paints are available in tubes or in pans.  With tubes you squeeze out what you want onto a palette – with pans the paint is open for use at all times.  Water, a water container (for transporting water) and a water pot are needed.

Artist’s quality watercolours are the best to use, but student quality is acceptable.  Watercolour palettes are available, where there is space to store the paints and space for mixing paint.  Visit your local art shop or surf the web.

Colours

Colour groups

Pigments

Notes

Yellows

Yellow ochre (cold yellow)
Raw sienna (hot yellow) *
Cadmium yellow (bright yellow) *

A range of the primary colours (yellow, red and blue) will aid colour mixing.  I appreciate I have suggested nine colours – if that is too many you could select six - which I have put asterisks by.

Reds

Cadmium red, or bright red *
Light red (or Venetian red)
Alizarin crimson (cold red) *

Blues

Ultramarine blue (red blue) *
Cobalt blue (mid range blue)
Phthalocyanine (or Prussian) blue (green blue) *

Orange

Cadmium orange (mind range orange)

A surprisingly useful colour when mixed with blues and yellows.

Green

Winsor green

A bright intense green – good with foliage.

Violet

Winsor violet

Good for darker tones – shadows

Others

Burnt sienna (a warm brown)

Useful colour for the hot landscape.

Brushes

The better quality the brush the easier it is to use.  Brushes should be round.  Sable are the best, but they are expensive.  Sable mixtures are fine – ask in your local art shop.  Buy the largest brush you dare.  One good brush is all you need provided it is large as it will have a fine point.  Treat the brush with care.

Camera

Photograph the subject of your painting for reference at a later date.

 

 

 

Peter Martindale – January 2010

 

 

 

 

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