top of page

Workshop Registration 

To Register for a workshop pay at our Square Store by clicking the

Sign Up button below


View the Nanaimo FCA Cancellation Policy here


If there are no more spaces available please fill

out the wait list request form here

Lalita Hamill Workshop

3 (4) Hamill Lalita.Peace in Parksville.oil.12x16.jpg

The Lalita Hamill Workshop is full.

Please add your name to the wait list

May 11th & 12th 2024

Cost: $250 for members $275 for non members

13 spots available

Location: Kin Hut 2730 Departure Bay Road, Nanaimo

Paintings that “Sing” with Colourful Greys



Many artists believe that the best way to create a colourful painting is to add more colour or make the colour more intense. Unfortunately, this often leads to paintings that are perceived by the viewer to be garish and loud; these artworks often lack subtlety and sophistication. In fact, one of the best ways to create colourful paintings is to strategically place greys beside or around small amounts of intense colour. The term ‘grey’ refers to any colour on the inside of the colour wheel, usually created when you mix colours that sit across from each other. For those wanting to improve the impact of colour in their paintings, this workshop consists of exercises, studies and demos specifically designed to help you develop your eye to create colourful greys.


Main topics will include the following:

  Choosing the right tubes of paint (and by ‘right’, I mean to get the look and feel you want)

 Ensuring your paint is the appropriate consistency, and what to do when it isn’t

 Palette management

 “Mother” colours, lights, and darks

 Mixing colour on the palette vs on the canvas

 Colour – hue, value, intensity, temperature

 Placing colours beside each other – how to make them “sing”

 How to move the viewer’s eye with colour

 What to do when things go ‘sideways’




Lalita is a sought-after instructor and juror who attended the Vancouver Academy of Art for four years, where she studied traditional painting methods from classically trained instructors. Lalita is a Signature member of the Federation of Canadian Artists, and an Associate Member of Oil Painters of America. She has been teaching for over 35 years, facilitated public monthly critiques for 10 years, and has been running a weekly contemporary atelier program out of her studio for eight years. Lalita designed the Foundations Program for the Federation of Canadian Artists. She is accomplished in oils,

acrylics and watercolour, and specializes in art critiques and mentorship of artists.

Lalita has a degree in Philosophy and English, is currently completing a Masters in Clinical Psychology; she is also a writer, musician, & facilitator. “I paint to gently awaken in myself and others that which has been lost, hidden, or buried.” - L.C. Hamill Visit



Regular oil or acrylic supplies as well as 4 canvases in a variety of sizes (min 11”x14”, max 18”x20”). Some will be used for exercises, others for studies. Feel free to use loose gessoed canvas if you prefer. Lalita will provide photo reference images in advance, and encourages you to use these because they have been selected as appropriate for the exercises and time frame. However, you do have the option of using your own images instead or as well. Images will be sent to all registrants 2 weeks prior to the start date.



That participants have 2 line drawings prepared on canvas in advance so we can focus on colour rather than drawing accuracy. Watch Lalita’s video on how to transfer an image at and subscribe for more free videos.

Acrylic painters are recommended to have a small bottle of Golden Acrylic Glazing Liquid (see image below - matte, satin or gloss) because it has retarder in it and enhances viscosity and the creation of soft edges and long gestures. Some kind of a ‘blender’ brush is recommended. Lalita prefers the series 444 1” blender brush from

Rosemary & Co in the UK.

Gaye Adams Workshop

Coming August 10th and 11th 2024!
Important information.
The Gaye Adams workshop wait list is full.

The wait list is not available. Please do not use the one on the Workshop page. More information to follow.



with Gaye Adams SFCA MPAC


  FB: gayeadamsartwork  Email:


In this two day course, I will share my approach to plein air.  My goal is to enable you to

capture, within less than two hours, the scene before you.


This mostly involves teaching you how to see and decide upon a design, and see all the value and color relationships accurately, allowing you to capture a sense of place and a sense of light.


Each day will start with a demo, in which I will be encouraging questions – and the rest of the workshop day will consist with you painting the landscape before you from direct observation, and receiving coaching on an aspect that might be needed.


At the end of the second day, time allowing, I hope to get time to do a group critique of the weekend's efforts – unless everyone just decides that they want to keep painting right up until the last moment.  It happens.


Bring your enthusiasm and curiosity and sense of adventure.  I'll see you there!





Titanium White

Cadmium Yellow light

Indian Yellow

Yellow Ochre

Transparent Red Iron Oxide or Transparent Earth Red

Cadmium Red Light

Alizarin Crimson

Ultramarine Blue

Pthalo Blue

OPTIONAL:  Portland Grey Cool, Portland Grey Warm, Portland Grey Deep



Bring a variety of sizes and shapes.  Here is what I typically use:

-size 2,4,6,8,10,12 (note these sizes can vary widely between manufacturers, so rather than looking at the number on the brush just think:   small, like 1/8”, up to large, such as 3/4” to 1” -   good quality hogs hair or synthetic hogs hair. A good quality brush costs more, but keeps it's shape and doesn't shed bristles.


My current favourites are Rosemary Ivory Synthetic hog bristles, and Windsor and Newton synthetic hog bristle (Opus generally carries the latter).  I find Flats to be the most useful.


I would rather you bring fewer brushes, but better quality brushes.  A good quality brush will keep it's shape when wet, and will have some spring to it.




I like Raymar or Centurion  supports for plein air as they are both high quality lightweight panels, and so are ideally suited to plein air.  Stretched canvases are too bulky and light can shine through them, so they are not ideal for plein air.  I have noticed that now carries the Centurion panels (linen, oil primed, 8X10”).  They are not cheap, but they are a lovely panel to work on.  What I generally do is if I am certain the painting I have just completed isn’t a keeper, I wipe it off and reuse the panel.  Alternatively, you can just purchase panels from your local art supply store, but I would recommend an extra layer (or two) of gesso so the are not too absorbent.


I work generally two sizes in the field, 8X10” or 6X8” for very fast sketches, and I would suggest you bring at least 1 8X10” and 1 6X8” panel for each day of the workshop.   As you become more experienced, you may find you want to work larger, but I would start small - it will speed up the process, and you need that on your side



A pochade box is ideal as it is designed specifically for painting outdoors.  They are an investment, however,  and I do not expect you to go out and purchase one if you are not certain you will continue to paint outdoors. 


Another option is a french easel, or a portable easel of another type.  Whatever your system, please set it up and try it out very close to home… will give you time to tweak your set up so it is not problematic in the field.  Having a system in a back pack or on rollers is best.


Swinton Art Supplies  in Calgary carries Sienna boxes, (although I just recently found them on as well!)  If you order a Sienna box, the smaller one is perfectly adequate.   Most students I’ve seen working with them seem pretty happy with them, so that is an option if  you are looking to buy a serious plein air set up within Canada.

I have a Strada box, ordered from the states.  They are pretty skookum, but also quite expensive.  Go to to take a look.


If you haven’t decided to invest in a good pochade box,  a portable easel and a small side table can work in the interim.  Make sure that your set up is portable, light weight, and sturdy.



blue automotive shop towels (these are lint free, strongest, and most absorbent

a plastic grocery bag for soiled towels

a leakproof container for solvent if you are an oil painter, for water if you are an acrylicist.

A VIEWFINDER – these can be purchased at most art supply stores.  In lieu of this, simply poke a pencil size hole in a mid value grey pant chip. Bring a brimmed hat of some sort, and sun screen

Wet panel carrier of some sort for oil painters.  Even a pizza box will work for this purpose. I use carriers from

Portable stool.  I find an inexpensive tripod style stool the easiest to use – it is light and compact.  Canadian tire usually carries these.  Even if you like to stand while you paint, you may wish to sit if it gets very cold or windy.  I have invested in the 19”  “Walk Stool” from Lee Valley Hardware.  It’s worth the money.



            -I use Gamsol to clean my brushes while working in the field.  It is worth it to spend a little  

            more and get a solvent that is odorless and high quality.

            -walnut oil, alkyd to help your paint flow out if needed (this is optional - mostly for cold weather painting)

            -acrylics should bring a polymer glazing liquid and use a stay wet palette.


NOTE:  If you have oils, please use oils instead of acrylics.  They are much easier to use in the field due to delayed drying time and malleability. 



If you have any questions around the supply list, please email me directly at:

NFCA Workshops

Below are past workshops organized by the NFCA.

bottom of page