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About The daily Astorian. (Astoria, Or.) 1961-current | View Entire Issue (April 25, 2019)
10 // COASTWEEKEND.COM Th e fastest brush in the West shares her secrets Macaulay’s quick-draw technique allows anyone to “journal” wherever they are in the world LONG BEACH, Wash. — She might be the fastest brush in the West. In the time it takes other plein air art- ists to set up their easel and lay out their paints, Kath Macaulay will have two new scenes drying in her “journal.” Using only the basic art supplies she can fi t into a compact fanny pack, Macaulay will crank out one stunning watercolor after another — none taking more than 25 minutes. Her workshop, Pocket Sketching for Fun and Travel, is coming June 14-16 at the Breakers in Long Beach, 210 26th St. NW, sponsored by Wiegardt Gallery. Phone Wiegardt Studio Gallery at 360- 665-5976, or go to info@ericwiegardt.com for information and reservations. Macaulay said the hours are 9:30 a.m. to 4 p.m. each of three days. The tuition is $225 per person. You can request a supply list; however, supplies for each participant will be available for $45 for the package. Based in Tucson, Ariz., Macaulay’s quick-draw technique allows anyone to “journal” wherever they are in the world using only a 4-by-6 art pad, a pen, a small paint set, a brush and a fi lm canister of water — all neatly stashed in her porta- ble kit. “Take it anywhere and you can whip it out in a minute,” Macaulay said. “And there’s no cleanup.” Macaulay travels the country teaching her technique. The workshops are attended by both professional artists and those who have had no experience since grade school. The format is intensive and very hands-on — almost like an art boot camp. At a recent class in Whitefi sh, Mont., she required the class to paint their lunch before eating, and every painting had to be competed in 25 minutes or less. “If you have more time, you’ll paint every detail and you’ll hate it,” she explained “You’ll ruin any energy the painting has.” She compared the technique to sketches by renowned Western artist Charlie Rus- sell.“They are fresh, it’s what you see right now,” she said. “You don’t work it to death.”“ In 20 minutes you know if the painting is good or bad,” Macaulay said. “If it’s not promising, it’s just delightful to say ‘I’m outta here. I only spent 20 minutes out of my life.’” Her technique was born out of a trip to Gla- cier National Park in northwest Montana. Macaulay had set up her paints and easel and set to work when a big rain- storm moved in. She was soaked by the time she packed up her gear and ran back to the car. “There was paint everywhere — even in my hair.” she said. “With this technique, if it rains Kath Macaulay or a grizzly bear shows up, you just leave. It’s per- fect for hiking.” She’ll use her journals as a way to doc- ument trips instead of using a camera. “It’s a travel log,” she said. “If I see something, I can quickly stop and paint.” It’s also ideal for timid artists who want to paint in public. An easel attracts atten- tion, but pocket sketching is done inside your per- sonal space. “No one is looking over your shoul- der critiquing your work,” she said. Perhaps the biggest benefi t is seeing the world in a whole new light like a little kid. It’s almost like getting cataracts removed: people com- ment after the fi rst day, “I see colors I’ve never noticed before all around me. My whole outlook has changed in one day of class!” Macaulay was one of the few artists invited to be on faculty at the Plein Air Convention and Expo held last April in San Diego. The photo of her working, fully equipped, is in her newly published book “Pocket Sketching, the Portable Workshop.” Her motto is “Learn enough to play for a lifetime.” Santa Barbara by Kath Macaulay Bouncing Kids by Kath Macaulay
