Barbara Jaenicke Workshop
Join Barbara in May of 2027 for a great, 3-day workshop. Following are details and the supply list!
Painting the Poetic Landscape
3-Day Studio Workshop for Oil & Pastel with Barbara Jaenicke
May 25-27, 2027 $425.00
9:30-4:30 (with lunch break)
To Purchase a Workshop
Description:
Once you learn landscape painting basics, it’s time to learn how to add the poetry. Barbara’s goal is to
equip you with skills that will move you beyond merely replicating landscape subjects, to conveying a
distinct, poetic visual message that strikes an emotional chord with the viewer.
Skills covered include composition, editing, value structure, color temperature, chroma, and edge
control. Barbara will also address how to make every stroke count, considering the mark-making
particulars of how you apply pigment to surface.
Each day begins with a demonstration followed by students working on a painting exercise for the
remainder of the day, while receiving plenty of individual help at the easel. Her demos will include both
oil and pastel equally. Students may work in oil or pastel, or alternate between both, and may work
from their own photos or instructor provided photos.
This workshop is open to all levels, although artists with at least some basic landscape painting
experience will benefit most.
PASTEL SUPPLIES
Pastels
Soft Pastels - Feel free to use your favorite soft pastels if you already have a good range of values, plus
some hard pastels mentioned below. (Please note: Pastels used in this workshop are “chalk” pastels,
NOT oil pastels.) I highly recommend organizing your pastels by value. If you plan to stock up a bit
before the workshop, here are some of my favorite soft pastels that I’ll use in my demonstrations:
Terry Ludwig
Schmincke
Sennelier
Jack Richeson (Handrolled Soft Pastels) – Their Winter Landscape 80-piece set is one I developed
for workshop students and is available through www.dakotapastels.com and
www.judsonsart.com. (In most of my workshops, at least one of my demos is a winter scene. I
also use this set for basic landscapes, too.)
Hard Pastels – NuPastel square/hard pastels have traditionally been my favorite for my initial block-in of
a pastel painting. However, they are no longer available to order individually. Since they’re now
available only in full sets, and I only use a few of these pastels, I’ve found alternative hard pastels that
can be purchased individually. The colors are basically a dark blue, bright orange, bright pink, violet and
dark brown. Listed below are the NuPastels, and then alternate options (in the same color order) in
Cretacolor and one in Hollbein. You’ll need only the 5 pastels listed for one of these options (or a
combination from any of the brands).
NuPastels: 244 Blue Violet, 212 Deep Orange, 306 Orchid Pink, 254 Violet Hyacinthe, and 353 Cordovan
Cretacolor: 239 Paynes Grey, 111 Orange, 139 Bluish Purple, and 219 Sepia Dark
Holbein: 094 Permanent Red 3 (this is the bright pink)
Surface
We’ll use mounted UArt paper for the first two days; Sennelier LaCarte paper for the third day.
Mounted UArt – Pastel students will be using liquid underpaintings for the first two days, so the
mounted version of the Uart paper will be important. My favorite grit is 320 or 400, but any grit close to
that will be fine for this workshop. My recommended workshop size is 11x14, but feel free to work
slightly smaller if you prefer to work more slowly, or bring extra if you tend to be a fast painter.
Quantities/sizes: At least 2 11 x 14 (or smaller) boards
I recommend any of these options for pre-mounted UArt:
Mounted UArt paper from www.propartpanels.com. (preferred)
or
UArt’s new Peel & Stick paper, which you can mount onto your preferred panel
or
UArt Premium Mounted Boards, available at www.dickblick.com or www.dakotapastels.com
Sennelier La Carte pastel card – two 19.5 x 25.5 sheets cut in half (just for easier transporting). Any
color is fine but avoid anything darker than a mid-value; I use either the “Sand” or “Light Grey” color for
my demos. Or either of their smaller size pads of this paper in assorted colors also works well. This paper
will be for multiple 6x8ish small studies (but you don’t need to trim to 6x8).
Other supplies:
Small sketch book
Artists tape
A couple of sharp pencils (any type) for thumbnails, and sharpener; or a mechanical pencil
ruler
Pastel pencil, if desired, to draw in initial shapes for painting (I use Cretacolor Paynes Grey)
Isopropyl alcohol for underpainting (just the cheap “rubbing” alcohol you find in the grocery
store)
Small jar for alcohol
Brush for underpainting – Flat bristle brush…#6 or #8 (5/8” – 3/4” wide)
Optional - backing board such as foamboard (a few inches larger on each side than your panel)
to hinge your painting panel, if working at a studio easel. This allows for plenty of space around
the entire panel.
Hand wipes
Paper towels
Latex gloves or other hand protection if desired
Portable easel if venue does not provide
Reference Photos (SAME FOR PASTEL OR OIL):
If you have your own landscape reference photos, please bring them. I'll provide copies of the photos I'll
use for my demos, which you may use if you’d like to work from the same photo. You may work from
printed photos or from photos on your laptop or iPad. (Please, however, do not plan to work directly
from photos on your phone.)
OIL PAINTING SUPPLIES
Paint* –
Titanium White (Gamblin)
Cadmium Lemon (Gamblin)
Cadmium Yellow Deep (Gamblin)
Cadmium Orange (Gamblin)
Yellow Ochre (Gamblin)
Cadmium Red Light (Gamblin) or Permanent Red Medium (Rembrandt)
Alizarin Crimson (or Permanent) (Gamblin)
Transparent Red Oxide (Gamblin 1980 line; or Rembrandt)
Ultramarine Blue (Gamblin)
Cobalt Blue (Gamblin)
Viridian Green (Gamblin)
*Listed above are my brand preferences and what I’ll likely use in my demos. I understand the expense
of each new tube of paint, so feel free to use similar alternatives you may already have. However, I
especially recommend having the brands indicated for Cadmium Lemon, Alizarin, Yellow Ochre and
Transparent Red Oxide.
I tone my surface with a 50/50 mixture of Transparent Red Oxide and Alizarin, diluted with Gamsol.
Once brushed on and wiped with a rag or paper towel, it should appear as a warm flesh color, toned to
about a 2 on a value scale of 1/lightest-10/darkest. I recommend toning your panels prior to the
workshop, but you can also do it there.
Surface – I recommend panels from www.canvaspanels.com (SourceTek – I like #13 oil primed linen on
Gatorboard, but any version is fine) or www.judsonsart.com (Guerrilla Painter® Extra Fine Oil Primed
Linen Panels…these are a great affordable option for workshop studies). My recommended workshop
size is 11x14, but feel free to work slightly smaller if you prefer to work more slowly, or bring extra if you
tend to work quickly.
Quantities/Sizes:
2 11x14s (or smaller)
2 12x16s (or roughly an equivalent total surface space) – this can be something cheap, even
canvas sheets. Divide each panel/sheet into 4 sections of 6”x 8.” (You can draw lines to separate
each panel into quarters, or use tape.) However, any size surface will work, as long as you have
enough to fit about eight 6x8ish studies, ideally fitting at least two at a time on a surface. You
don’t necessarily have to tone these surfaces, but it may be helpful to have half of them toned.
Brushes – Bristle brushes in sizes 1, 2, 3, 4, 6, and 8 (or other similar size range). Filberts for sizes 1-3;
flats for sizes 4-8. Bristle brushes, rather than softer synthetic brushes, will be important. More
information is available on the workshop page of my website
(https://barbarajaenicke.com/page/9904/workshops) about an optional Richeson brush set I have
available for students, or to simply take a look at the brushes I’ll be using in my demos.
Other supplies:
Small sketch book
Artists tape
A couple of sharp pencils (any type) for thumbnails, and sharpener; or mechanical pencil
ruler
Portable palette
Odorless mineral spirits such as Gamsol
Painting medium (I use Gamblin’s Solvent-free Gel or Galkyd Gel, but any medium is fine)
Wet canvas/panel carrier
Palette knife
Paper towels
Hand wipes
Latex gloves or other hand protection if desired
Portable easel if venue does not provide