Painting The Low Country With Special Effects
with Robert J. Simone, OPA, NOAPS, ASMA robertjsimone.com
About This Course
The focus of this course will be painting the structure of marshes, wetlands, and watery edges while learning to suggest detail rather than overstate it — essentially, “painting masses, not grasses.” A secondary focus will be handling special effects in water, including glare, reflections, and atmospheric light.
The workshop is suitable for beginning, intermediate, and advanced artists alike. Students can expect a combination of demonstration, lecture, and plenty of individualized instruction at the easel.
The course is best suited for oils, water-soluble oils, and open acrylics. Standard acrylics may also be used; however, their faster drying qualities can make painting more challenging than with the other recommended media.
Artist and instructor Robert J. Simone believes that great painting grows from mastering the fundamentals. Spontaneity and expressive freedom come from a strong command of principles and process — a central theme throughout his teaching.
Robert has been described as passionate, extremely knowledgeable, patient, and kind. He has a remarkable ability to meet students where they are and provide the guidance most critical to their individual artistic growth. His teaching style is a focused yet free-flowing stream-of-consciousness approach shaped by decades of study and experience.
Although highly disciplined in his instruction, Robert brings a lighthearted and fun-loving spirit to the classroom. His workshops are joyful, immersive deep dives into the art and craft of painting.
Bio
Robert J. Simone, OPA, NOAPS, ASMA, insists that good things happen when you paint. “As a late bloomer, who started taking classes when I was in my 40’s, I just kept my head down and kept painting. I’m still pinching myself over the good things that have come my way.”
Robert was recently invited to participate as Faculty Staff for Plein Air South (PAS) 2027. He is the featured demonstrator for the National Oil and Acrylic Painters Society (NOAPS) Best of America Small Works Exhibition weekend 2026.
Robert also received the Grand Prize at Plein Air Easton 2024! Other awards include First Prize in the
Quickpaint Competition at Olmsted Plein Air Invitational 2024, Best Landscape at National Oil and
Acrylic Painters Society (NOAPS) Small Works Exhibition 2023 and Best Marine/Seascape at Oil Painters of America (OPA) Eastern Regional 2023. Robert was recently awarded Signature Member in OPA. He is also Signature Member in NOAPS, and the American Society of Marine Artists (ASMA).
Robert has 17 years’ experience giving painting instruction through online mentoring, public demonstrations, workshops and weekly classes. As one student put it, “He knows what we need to know. And is willing the share.” (Pat C.)
He is a serious and dedicated instructor, but his workshops are filled with lighthearted fun.
Materials for Paint The Low Country With Special Effects
Robert J. Simone, OPA, NOAPS, ASMA http://robertjsimone.com
Painting Grounds
Currently, I am using Centurion LX Linen Panels that I have added two coats of Michael Harding’s Non-Absorbent Acrylic Primer. Sometimes, I use the same panels coated with Gamblin’s Oil Painting Ground instead of the Michael Hardings. I use either one of these panels for paintings up to about 20x24. Larger than that I use stretched linen. Students should consider sizes large enough that they can work on the same painting for all three days. I strongly recommend considering different formats, rectangular, square and long. It’s best to give yourself options when planning a composition. It is a good idea to bring a sketchbook for thumbnails. Or even a small panel for planning compositions. I often use white Multimedia Artboard for doing thumbnails in oil before I start.
References
We will be using our photos for references. If you have the opportunity, I suggest going out to take your own references of marshes and estuaries. Look for dramatic light and reflections. If you do not have the opportunity to do so, I will have some photos available.
Paints
My palette is as follows:
▪ Ultramarine Blue (Williamsburg) (essential color)
▪ Kings Blue (Williamsburg) (essential color)
▪ Plum Grey (Utrecht) ▪ Viridian (Rembrandt)
▪ Alizarin Crimson (Winsor Newton) (essential color)
▪ Scarlet Red (Winsor Newton) This is the same as Cad Red Light in other brands. (essential color)
▪ Alizarin Orange (Williamsburg)
▪ Cadmium Yellow (WN) Other brands of Cad Yellow are not as orange as WN. If using another brand choose Cad Yellow Medium (essential color)
▪ Cadmium Lemon (WN) (essential color)
▪ Raw Umber (WN)
▪ Burnt Sienna (Williamsburg)
▪ Yellow Ochre Pale (WN)
▪ Titanium-Zinc White (Williamsburg) (essential color)
▪ Ivory Black (WN)
▪ Portland Grey Cool, Portland Grey Warm, Portland Grey Medium (Gamblin; these are convenience colors only. Not essential)
You do not need to use my exact palette if you have a set of colors you are used to using. However, I do suggest at minimum, you should use two blues, two reds, two yellows, plus white. PLEASE DO NOT USE STUDENT GRADE PAINTS SUCH AS WINTON.
Medium and Solvent
• Painting medium such as Galkyd Lite Gel from Gamblin.
• Gamsol Odorless Mineral Spirits (OMS). This is primarily used for blocking in and cleaning brushes. I do not use it in the painting process except in initial washes.
• Turpenoid Natural. I use this to clean brushes after the day of painting.
Brushes and Painting Knife
Using brushes that are too small or using stubby worn-out brushes is the downfall of most student painters. Please consider acquiring an assortment of good brushes. I suggest long flats sizes 2, 4, 6, 8, 12. At least two of each. Natural or synthetic. I strongly recommend Rosemary brand brushes. I typically use the following sizes. (#12 Ivory Series Long Flat, #8 Bravura Series Long Flats, #6 Bravura Series Long Flats, #2 Ivory Series Long Flat, #2 Ivory Series Egbert, #4 Master’s Choice 278 Longer Filbert, #10 Master’s Choice 278 Longer Filbert.
You will need at least one painting (or palette) knife. Knives are not just for mixing but also for applying paint. So, I suggest a medium sized, tear drop shaped metal knife with a wood handle. There are a variety of brands. I use Creative Mark #T19. I strongly discourage the use of plastic palette knives. They just aren’t’ that functional.
Specialty tools
I use a variety of special tools such as hardware store paint scrapers, rubber spatulas, razor blades, q-tips, sponges, spatcher blades, paint shapers and rubber wedges. You don’t have to purchase any of these unless you want to. I will let you experiment with mine.
