Thompson Nicola Shuswap Chapter of the FCA

4 Day Foundations Workshop

 lalita hamill  

with Lalita Hamill, AFCA

DATE: July 11–14, 2019 

LOCATION: 2510 Blind Bay Hall, Blind Bay Rd., Blind Bay, BC 

TIME: July 11th DOORS OPEN at 10 am 
           Class begins 
10:30am – 5:30pm
           July 12,13,14 9:30 – 5pm

           1/2 hour lunch each day

Overnight camping option - scroll to bottom for details.

                                                                     Please click to register and pay 

Overview: Although this course is designed for beginner and intermediate artists who have completed fewer than 300 paintings, Lalita has created this course with a multitude of exercises and studies that will challenge artists of all experience and ability levels. Many of the topics being presented will sound familiar, however, the various approaches presented are likely to expose you to new ways of seeing, interpreting, and understanding the foundations of painting in acrylic and oil.  

Participants can expect to complete a multitude of exercises and studies, all of which will be preceeded by a demo by Lalita.  By the end of the week, every participant will also have completed at least one small or mid-sized painting, using their own reference material.

A key undercurrent of this workshop is about psychology; each participant will be given the opportunity to repeatedly self-assess, and to identify your beliefs, barriers, patterns, blockages, strengths, values, habits, and goals in order to increase your success as an artist; all of this according to how you define ‘success’.  The information from this workshop stems from what Lalita teaches her atelier students.

This course will include extensive feedback, visual aids, handouts, reference material, and information to inspire you to launch your paintings and psyche to the next available level over the next months and years.

Instructor Bio:

As a young adult Lalita discovered her artistic abilities during the final year of her Honours Philosophy degree at the University of Victoria.  Subsequent years of drawing led to classes at the Vancouver Academy of Art, where she studied methods of the Old Masters for four years with classically-trained instructors.

Yet it was not until a severe car accident in 2003, in which her husband was severely injured, that Lalita decided that “life is too short to wait”, and soon thereafter plunged herself fulltime into her passion for visual art.  With fifteen years of teaching experience, an eye for composition and beauty and the philosophical training to discuss art, Lalita began her life's work. 

Fifteen years later, Lalita has won many awards, she is a sought-after instructor and juror, and serious investors are collecting her artwork.  Please visit her website at

Artist statement:  “I paint to gently awaken, in myself and others, that which has been lost, hidden, or buried”- Lalita Hamill, AFCA

Course Outline

Day 1Composition & Art Assessment, Visual Reference Sources & Tonal Values

10:30am – 5:30pm
Strong composition can seem intangible; initially one has to deliberately work at understanding and implementing key design principles, but with attention and practice it will become instinctive.  You are likely aware of what it means to use elements of design such as line, shape, value and colour.  Perhaps you have a sense of principles of design such as unity, contrast, rhythm, symmetry, and balance.  However, few artists use these to their full advantage. 

Composition is a fundamental aspect of any artwork. In this informative class, Hamill will give participants a deeper understanding of not only the terminology of composition, but also how to utilise these techniques to improve their paintings. By the end of the day, you will have a deeper and broader understanding of what the various terms mean, why these concepts are important, and how you can apply them to improve the quality of your work.

Participants will be invited to bring greyscale photos that they intend to use as references for future paintings.  We will then use the information covered that day to assess each photo and determine whether or not it will, in fact, work as an effective reference. Participants will then choose one image to use for the remainder of the workshop.

Day 2 – Drawing for Painting, Underpaintings, Translating Tonal Values into Colour

9:30am – 5pm
Building on the information from day 1, participants will create a drawing and underpainting of their reference image. This image will become the main project of this workshop.

Participants will find out to what degree they are able to see the hue, tonal value, intensity, and temperature of colour. 

Day 3 – Viscosity, Layering, Backgrounds, and Colour Part 1

9:30am – 5pm
Viscosity is simply how wet or dry your paint is, and layers are about the viscosity as well as how thick or thin your paint is. 

Participants will complete a series of exercises and studies on viscosity, abstraction and colour in preparation for painting further on their main project.

Once Lalita has completed a demo about how to compose and use abstraction to fill ‘empty space’ in an interesting way, participants will spend the remainder of the day experimenting on several practice pieces using the phrase ‘What if….?”  Once a suitable background has been determined, it will be painted onto the main project painting.

Day 4 – Palette Management, Colour part 2, Assessment & Wrap Up

9:30am – 5pm
This day will begin with a discussion about the importance of having the right type of palette for your needs, followed by a demo about various ways you can set up and maintain your palette.  This may seem unimportant, but the state that one’s palette is in is often a sign of the state of one’s painting as well!

Participants will create a colour study and then colour strings in preparation for putting colour on their main project.

Supply List:

The key with supplies is that participants will not be required to buy anything new; simply select the following from the supplies you already have.

·      Acrylic or oil paints (your choice of at least 3 yellows, 3 reds, 3 blues, raw or burnt umber, white and black).  Lalita will likely be using yellow ochre, cadmium yellow med, hansa yellow, burnt sienna, cadmium red med, alizarin crimson, cerulean blue, cobalt blue, ultramarine blue, raw umber, burnt umber, titanium white, and mars black. If you are not sure what to bring, just bring all your colours on day 2 and Lalita will help you decide which ones to use.

·      Bring all the brushes you own for your chosen medium. Please ensure you have a minimum of 15 (flat or filbert), size range approx.. 2-16. Lalita often recommends the Ivory brushes (which are for both acrylic & oil) from Rosemary & Co in the UK.

·      Gessoed canvas to paint studies and swatches on, such as loose canvas that you can simply tape onto a board.  Or, if you already have them, you can use 4-6 small canvases (8x10 or 11x14).  If the group requests it in advance, Lalita will bring a roll of loose gessoed canvas for participants to purchase at cost. Note: If using loose canvas, please have a 16 x 20 or larger board to tape the canvas onto while painting.

·     One or two gessoed canvases on which to paint your main project.  The size, shape, and number of canvases will depend on the reference image selected and the speed at which you paint.

·      Several palette knives, small or mid-sized, any shape (just bring whatever you have).

·      General painting supplies: palette, easel, paper towel, apron, etc.

Specific supplies:

·     For those using acrylic paints, please bring a bottle (or share one with someone else) of Acrylic Glazing Liquid (the one by Golden with retarder in it). It doesn’t matter whether it is gloss, satin or matte.

·      Note for those using oil paints: the solvent must be odourless mineral spirits (not turpentine), such as Gamsol.  The oil can be linseed oil, walnut oil, poppy-seed oil, eco-house, or artist’s water-soluble oil medium.

·      Greyscale photos, 8 x 10”, 2 copies of each for day 1.  Bring a colour copy of your favourite reference images.

·      Camera (optional – to take photos of demos and exercises)

·      Mask and/or gloves if you are sensitive to oils or acrylics

·      Texture tools to be used on Days 3 (optional)

·      There may be more supplies needed…this is everything I can think of at the moment.


Please click to register and pay 

Camping at Blind Bay Hall – 3 spots available:

RV’s:   $30.00/night; maximum 30 feet in length; maximum 3 RV’s on property
Tents: $10.00/night; no vehicle allowed on tenting area

No open fires will be allowed. Camping Policy will be provided and must be followed. 

Payment is required in advance by contacting T: 250 675 3139  E:


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