Sunday, June 14
10 a.m.–5 p.m.
SVAC Member: $175; Non-member: $195
Ages 18+
Why do we paint what we paint, and how do we choose to tell that story? Join us for an intensive one-day workshop with Charlie Hunter where we dive into the language and technique of atmospheric, low-chroma painting.
For one day, we will put aside color, and instead we will rely on edges and values in our paintings – and the results can be a revelation!
Charlie Hunter is a nationally recognized painter of the post-pastoral American landscape, known for superb draftsmanship and composition. Hunter utilizes a variety of unorthodox techniques and tools that reference both photographic and painterly traditions.
Hunter has won first and grand prizes at top plein air events around the country, including Easton, Laguna, and Door County, and has served as judge or juror at many more. With painter Larry Moore, Hunter created the En Train Air painting train, and Hunter’s REASONABLY FINE ART TALKS maintain a fervent following.
Hunter’s work centers upon rural and small town America and how the past is evidenced in the present-day. Initially a graphic designer of tour posters for musicians such as the Jerry Garcia Band, Bob Dylan, and The Clash, Hunter became a music manager and event producer before turning to painting full time. Hunter’s 2025 activities include solo shows at McLarry Fine Art in Santa Fe and William Baczek Fine Arts in Northampton, MA. He is an invited participant at the 2025 ART IN THE OPEN in Wexford, Ireland, and recipient of a fellowship at the Tides Institute in Eastport, Maine.
THE WORKSHOP
This small-group workshop, limited to 12 participants, is intended for those serious about expanding their creative vocabulary and technique. Beginning with a discussion of why we paint, and where we are on our respective journeys, I will do a live demonstration painting, during which discussion and questions are encouraged. Participants will then work on their own, until reconvening for a group critique.
Unwittingly, we often rely on color to do much – sometimes too much – of the heavy lifting in a painting. My demonstration painting will rely on value and edge, rather than chroma, to tell its story. This is a valuable exercise for participants to try, should they wish to.
As this is an indoor workshop, I will do my demonstration painting using a preexisting drawing as my reference. I will share a video link of my drawing process – starting with a photograph and doing a drawing from that – prior to the start of the workshop. Since this workshop takes place indoors, use of conventional oils with OMS (odorless mineral spirits such as Gamsol) or turpentine is prohibited. I use Cobra water-mixable oils, and encourage others to do the same.
THE DAY’S SCHEDULE
We will gather at 10:00 am, and get to know one another a bit, talking a little about who we are, and where we are on our creative journey. From around 11:00 am until 12:30 or so, I’ll do a demonstration painting, and then each participant will set up and work on their own.
Lunch break is at participant’s discretion. As I have compromised mobility on my right side, I will not come around and hover in the background – I will sit myself down at what we call “the therapy table,” and folks will come to me if they have questions or seek my counsel.
At 3:30 pm, everyone will gather, setting up their easels in a half-circle, with their painting on display. We will do a positive group critique and discussion of each work until 5:00 pm.
THE OVERVIEW
There is no one “correct” way to approach the creative process; each of us reacts to shadows, forms and light differently; each of us has our own way of telling a story. It is expected that you already know at least the rudiments of painting; I am not here to dictate how one “should” paint, nor am I here to instruct on basic drawing or painting fundamentals.
Metaphorically, I view this much like a one-day creative writing workshop: we trust you already know what the parts of speech are and that you know how to write a grammatical sentence. In the short amount of time we have together, using the same visual prompt, as it were, we will all strive to write a couple of terrific paragraphs, and then we will talk about how it went, the triumphs and challenges; the great sentences and the ones that could use a little work.
I do not have a “required materials” list: if you have a set-up you regularly use for painting, that’s wonderful – just use it. Pastel, acrylic, gouache, oil – I don’t care what your medium is – I want to see how you tell your story.
I do, however, understand that oftentimes people are interested in seeing just how I paint, and are interested in trying on the “Charlie Hunter outfit” for a day to see how it feels. If participants are interested in trying my technique, I will have “mark-making sets” and recommended surfaces available for purchase. Participants are welcome to use my water-mixable oils and mediums at no cost, but should bring their own bowl for water, and a small cup for medium.
Again, thanks so much for choosing to spend a day exploring beauty. In a world filled with ugliness and pain, we are lucky bugs to get to do this.
~Charlie
THE EYE-GLAZING DETAIL
Following is a list of the rudiments of my painting rig. For a really deep dive into all my materials, here is a link on my webpage that should satisfy even the most obsessive. These are not requirements – you probably know what works for you.
I will have surfaces available at reasonable cost at the workshop, as well as my “mark-making kits” (brushes, squeegees, other tools I use). Patrons are welcome to use my Cobra oils if they wish.
Surfaces:
I like a rigid panel with a slight tooth. Blickor Centurion Belgian Linen Panels are the commercial product with qualities most similar to my home-made panels. In terms of size, for a one-day painting workshop, something manageable – like 9×12 or 11×14 – makes sense.
I usually make my own surfaces with inexpensive muslin from the local fabric store glued (with Amsterdam Acrylic Binder) to 1/4” gatorboard, sized with Golden Matte Medium, then three coats of a good-quality acrylic gesso. (There is a special feature about making these surfaces in EDGES, Hunter’s new video for Streamline).
If attempting my technique, please do not use inexpensive canvas boards, as the divots of fabric are too deep and will leave way too much paint in them. We also do not recommend the use of Gessoboard panels as you learn, for though they are a magnificent surface, the techniques used for paintings on Gessoboard differ slightly from those used on the toothed surface.
Brushes:
Any decent-quality synthetic flats will work fine. My go-to plein air brushes are: Black Silver by Dynasty 1” synthetic flat, ⅝” synthetic flat, ½” synthetic flat, ¼” synthetic flat and a rigger/liner. Also a (preferably well broken-in) 2” (or larger) chip brush.
Paint Manipulators:
Flexible palette knife 6” Ettore squeegee
Q-Tips Stim-U-Dent (mint flavor)
Miscellany:
Plein air easel (Hunter uses a Soltek) Portable/foldable chair (for crit session)
Water bowl (or solvent cup) Palette cup (for safflower oil)
Paper towels Hunter likes Bounty or Kirkland)
Other stuff I carry in my painting rig:
Toothbrush (for spattering)
Plant sprayer
Rosemary Sword Brush, Rosemary #37 Badger Blender
1” paint scraper with squeegee blade in place of razor blade, and/or 3” mini-squeegee
Stretcher-bar keys (come with some pre-stretched canvases)
Many of these items may be ordered from the “Store” tab at www.hunter-studio.com
If you are taking the “How can I be as Charlie as possible for a day” approach, we offer a “Starter Set” of mark-making tools we use (brushes, squeegees, etc) – here is the link to order.
Paints
I use water-mixables, but that doesn’t mean you have to.
Cobra water-mixable Van Dyke Brown Cobra water-mixable Titanium White
Cobra water-mixable Raw Umber Cobra water-mixable Payne’s Grey
Cobra water-mixable Safflower Oil
I use Cobra brand water-mixable oils. Conventional oils (and OMS instead of water) can work just fine for my technique, with the caveat that the two media do not behave exactly alike, so those using conventional oils would need to be ready to be slightly flexible when the unexpected occurs. If using regular oils, yet trying-to-paint-like-Charlie, it’s a good idea to use Rembrandt oil colors, as they and Cobra are both manufactured by Royal Talens and thus the pigment formulations are nearly identical.
Since I have not used conventional oils for over a decade, I’m unable to troubleshoot what might or might not happen with conventional oil use. My process will not work – as far as I can figure out – with acrylic, gouache or watercolor. Those who are following their own path and do not care about Charlie’s techniques should use whatever materials they want.
Sketchbook
I feel everyone’s artistic journey benefits from a robust sketching practice. I advocate artists carry a bound sketchbook in the car with them, and try to sketch 20-45 minutes at least two or three times a week. I like a hard pencil (like a Staedler 3H, but that’s really a matter of preference). Here is a clip about a simple drawing board that I use in the car.
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