Unknown photographer. Gros Piton, Soufrière, St. Lucia, c. 1900. Gelatin silver print, Overall: 19 × 29.2 cm. Montgomery Collection of Caribbean Photographs. Purchase, with funds from Dr. Liza & Dr. Frederick Murrell, Bruce Croxon & Debra Thier, Wes Hall & Kingsdale Advisors, Cindy & Shon Barnett, Donette Chin-Loy Chang, Kamala-Jean Gopie, Phil Lind & Ellen Roland, Martin Doc McKinney, Francilla Charles, Ray & Georgina Williams, Thaine & Bianca Carter, Charmaine Crooks, Nathaniel Crooks, Andrew Garrett & Dr. Belinda Longe, Neil L. Le Grand, Michael Lewis, Dr. Kenneth Montague & Sarah Aranha, Lenny & Julia Mortimore, and The Ferrotype Collective, 2019. © Art Gallery of Ontario 2019/2151
ONLINE PAINTING EXPLORATIONS: LANDSCAPE
This course introduces artmaking through the lens inspired by the spectacular exhibition of historical photographs and contemporary artworks in Fragments of Epic Memory. Learn the art of Landscape painting using subject matter inspired by Epic Memory, personal history, family history or imagery from the exhibition. We encourage you to visit the exhibition in advance of the course.
Led by Gomo George, this course will focus on key techniques in landscape painting. Participants will be encouraged to focus on memory as inspiration for creating their own visual narratives. This course is suitable for beginners and painters at all stages in their practice.
Gomo George is a multi-disciplinary artist and writer. His academic achievements include a B.F.A. from The University of Manitoba and a M.F.A. from the University of Western Ontario. Gomo has worked as an Art instructor, Storyteller, in the schools and in community settings. Gomo has received awards from the Manitoba Arts Council, the Ontario Arts Council, the Toronto Arts Council and the Canada Council for the Arts. Gomo’s work is represented in various collections including the Canada Council Art Bank.
Terms and Conditions of Participation in Online Courses.
Please review the Terms & Conditions for course experience optimization.
Participants must be 18 or older.
Week 1: Value and form. Introduction to materials. Reading Line and shape and form in an image.
Week 2: Colour and form. Introduction to colour concepts, the colour wheel, mixing and applying colour. Start Landscape Painting
Week 3: Solidifying your subject. Exercises and studies with complimentary colours, mark making, colour function and colour palette choice.
Week 4: Sharing your progress, finalizing your image. Use of colour to create effect, shadow and highlight, reviewing through practice the use of complementary colours, and contrast, pushing and breaking down the medium.
STUDENT MATERIAL LIST
Acrylic paints, brand of your choice, one tube of each colour, approximately 120 ml/5oz:
- Primary blue
- Primary or Bright red
- Primary yellow
- Raw umber
- A larger tube of titanium white 240ml/10oz
- Acrylic matte medium (not gel) 120 ml/5oz or similar
Brushes and Other Materials:
- A large flat 2 inch chip/utility/house painters brush
- 2 medium sized filbert brushes (i.e., ½ and ¾ inch hog bristle),
- 1 round brush that makes a nice point
- Any other brushes you would like use
- A Palette: foam or plastic plates or trays. White is ideal. (Alternative - any flat stiff surface covered with wax paper or aluminum foil, a disposable palette pad)
- Painting rag: cotton cloth, or paper towel
- Water container: 450ml-750ml vessel that you will not use to drink from.
- Ruler or a straight edge
- Masking tape
- 2 or more primed canvas boards/panels or primed stretched canvases: 12 x 16, 16 x 20 inches or similar (your choice).
- A pad of paper that can take acrylic paint, approximately 12 x 16 inch (inexpensive watercolour or printmaking paper can work).
These are the recommended materials for this course. All sizes are approximate. Our Instructor’s will do their best to accommodate alternative materials whenever possible.
Some suggested retailers for purchasing your art materials:
Aboveground Art Supplies (discount code:
Due to the COVID-19 crisis delays are very possible. Our Instructor’s will do their best to accommodate alternative materials whenever possible.