Matt Smith  June  Cotopaxi

Mitch Baird  August  Cotopaxi

Kim English  September  LaVeta

Michael Lynch September  LaVeta






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A special thanks to all of the extraordinary artists that I have had the good fortune to meet in the workshops over the years. It is a fantastic journey and I am grateful! - Marty Brens












Michael J Lynch materials list

Michael Lynch Materials List



  Keep it as light and portable as possible.  Light weight and easy to carry.  Backpacks are great.



 Everyone has colors and manufacturers that they prefer when choosing their palette. We use a range of colors that involves a “warm” and “cool” hue each of yellow, red, green and blue as well as two earth colors. Generally, Winsor Newton and Holbein are pretty dependable manufacturers. Utrecht is usually the least expensive and makes a solid Yellow Ocher, Cerulean Blue [Hue] and Cadmium Yellow Light and Cad Orange. Avoid their other colors on this list.


  Earth Colors       Yellow Ochre

                             Burnt Sienna


  Yellows              Cadmium Lemon  [cool]

                             Cadmium Yellow Light  [warm]


  Reds                   Alizarin, or Rose Madder  [cool]

                             Cadmium Orange  [warm]


  Greens                Viridian  [cool]

                              Sap Green  [warm]


  Blues                   Cerulean Blue Hue   [cool]

                              Ultramarine Blue   [warm]


  White                  Titanium White




Primed linen canvas in a variety of smaller sizes, especially 6x8, 8x10, and 9x12. Figure on doing two paintings a day. You can bring canvas mounted on panels [available commercially – and expensively – from SourceTek, or made yourself] or stretched canvas. If the latter, make sure you have a backing on your easel that keeps the sun from shining through from behind.

Claessens oil-primed linen canvas [#13 for small canvases, #15 or #66 for larger work, single or double primed] is the one we prefer above others.




Bring a variety of brushes in various sizes. Bristle, mongoose or badger, watercolor mops, whatever you feel comfortable working with. A good selection of sizes and types will allow you to explore what it’s like to put paint on the canvas and manipulate it using different tools to create different effects.


 This is true of palette knives, too, when it comes to putting on or taking off paint. Several in the   small to larger range [2” or so] should do.



 It’s always suggested that one never try bringing new [unfamiliar] equipment on an expedition. This certainly holds true for outdoor painting.


  - Bring a French easel [half or full-size], or a tripod and pochad box, or whatever rig you’re comfortable painting with outside.

  - A portable palette [such as an “Easel Pal”] or similar set-up that allows you to put out paint and cover it for the night is very convenient.

  - An umbrella can be helpful at times, but often causes as much hassle as it prevents, whether from difficulties setting up or wind-related accidents. We don’t use them.


  - A knapsack or canvas bag with:

    - Baseball cap or other brimmed painting hat

    - Small sketchpad and pencils/charcoal

    - Paper Towels

    - Mineral Spirits

    - Can/container for mineral spirits

    - Plastic wrap for covering paint overnight

    - Bug Spray

    - Sunscreen

    - Water

    - Some container for transporting and storing wet paintings

    - Comfortable dark or neutral clothing that doesn’t reflect on the canvas