Academy Workshops
Jeremiah Paterson - Gaining Control of Watercolor - Beginner to Advanced
Workshop Dates: Feb. 24 – 26, Friday – Sunday, 2012. 9:30 am to 4 pm with a half hour break at noon.
Workshop Fee: $285 (members) / $315 (non-members)
This three-day workshop will introduce the participant to the 7 important watercolor techniques necessary to gain total control of this wonderful medium and make paintings with rich color and full volumes of form. This workshop would be appropriate for participants at any level from beginner to advanced.
Participants will learn techniques that allow the watercolorist to ‘think ahead’, and therefore limit common watercolor problems. We will discuss the importance of a watercolorist’s ‘choice of materials’, including the workability and limitations within the range of pigments, brushes, and paper currently available. Technique instruction will focus on learning skills of laying washes, wet-into-wet, and highly refined finesse techiniques to create luminous, highly realistic, transparent watercolors. We will work on building ‘good watercolor habits’, and develop brush handling skills. During the first day we will create a variety of ‘technique test sheets’, and ‘single object renderings’ to build skills in handling color and layering. During the final days of the workshop, each participant will create their own small still life composition, enabling a discussion of a watercolorist’s ‘thought process’ in the creation of a whole picture. This workshop will also include mini-lectures on color mixing, linear perspective and the illusion of depth & pictorial composition. In addition, there will be a slide lecture introducing the participants to my work.
WORKSHOP OBJECTIVE
By the end of the workshop, participants should have knowledge of: the watercolor painting media, paper types (workability & limitations of each), the proper way to stretch paper, under?painting techniques, glazing techniques, layering techniques, modeling techniques, wet into wet painting, masking techniques, pigments, mixing color vs. achieved color, and defining an edge of a shape (hard vs. soft)
Jeremiah will also share slides of his own work and he invites any students to forward via email images of their work as a starting point for discussion (not mandatory). realistwatercolor@comcast.com
Sandra Wakeen - Portrait Workshop
www.sandrawakeenfineart.com
Open to all levels from beginner to advanced.
Three Day Workshop, March 9-11, 2012
10:00 am to 4:00 pm
This three day workshop will focus on painting the
portrait in oil using a live model. The course is designed to
help students problem solve, observe and question what they
see. Students will learn how to see the portrait structurally
and beautifully. The will also learn what is harmonic design
and how to achieve harmony in a portrait. Sandra will teach classical
methods and techniques used by 19th century artists as well as today's
prominent portrait painters. Students will work from a live model
concentrating on form; capturing light: color relationships; structure
anatomy and edges. There also will be discussions and demonstrations on key
elements in achieving a likeness in the portrait. The bigger the student's
vocabulary the more impact the portrait will have and the more joyful the
painting experience will be.
Fee: $275. Members, $305. Non-members
Model fee extra
Koo Schadler - Egg Tempra Workshop
www.KooSchadler.com
Open to all levels of painters, from beginner to advanced.
Five Day Workshop: April 16-20, 2012
9:00 am to 4:00 pm
Old as the Egyptians and most famous during the Renaissance, egg tempera painting is becoming increasingly popular with artists today. Tempera has unsurpassed luminosity. Dozens of glazes and scumbles can be applied in a day, and yet the medium also allows for meticulous linear detailing.
This comprehensive five-day workshop, taught by an internationally recognized tempera painter, offers the opportunity for in-depth work in egg tempera: students will spend five full days working on a painting of their own design. Koo will help with the initial planning stages, provide on-going discussion and critiques, give painting demonstrations, and discuss the important design elements of old master painting.
Demonstrations presented in this workshop include: painting a portrait in egg tempera; creating granite, marble, and other textured surface; decorative and geometric patterns; incised lettering; oil glazing over tempera; how to set up and photograph still life and portrait subjects; and more.
Fee: $580. for members, 610. for non-members.
Materials fee: $60. payable to instructor.
Experienced egg tempera students may forgo the materials fee if they
provide all of their own supplies.
Kathy Anderson - Painting the Garden in Oils
www.kathyandersonstudio.com
Open to all levels of painters, from beginner to advanced.
Three day workshop, June 4, 5, 6, 2012
9:00 am to 4:00 pm
Students will work on how to block in, simplify, and compose from a complex subject.
Kathy will set up a complex floral arrangement inside, and work on the same elements.
This workshop will begin by learning to create a strong block in with
the emphasis on design and looking at things is a new way. We’ll work
on how to see blossoms and leaves as masses of simple shapes and
values, and how important it is to listen to your instincts. I’ll help
the students particularly learn how to paint white and yellow flowers,
and how to keep the color clean and delicate.
We’ll also learn how to finish from a photograph when necessary,
what’s important to get from life, and what the photo can be used for.
Kathy Anderson is a charter member of the Putney Painters with Richard
Schmid and Nancy Guzik, painting with them for 10 yrs. She is best
known for her beautiful garden landscapes and intimate glimpses of
nature. She is an artist member of the Salmagundi Club, NY, and the
National Arts Club, NY, where one of her paintings is in the permanent
collection. Her work has recently been featured in Southwest Art
“Artist to Watch, feature articles in American Artist and Art of the
West, and was “Artist making their Mark” in Fine Art Connoisseur.
Required supplies for this program:
Canvas: 3 – 6 good quality oil or lead primed linen canvas, 8 x 10, 11
x 14, or any small to medium size you are comfortable with.
Medium: I use gamsole to clean brushes, and traditional Meyer’s medium
– 5 part English distilled turpentine, 1 part damar varnish, 1 part
stand oil
Paper towels—viva
Good medium size painting knife
Brushes: bristle brushes I use flats, either Silver ruby or Rosemary
brushes (www.rosemaryandco.com) small (1/8 inch or so), medium and
maybe one larger. Round: one really good quality small round that
makes a great point – rosemary Kolinsky sable size 1 or 2, or Winsor
Newton series 7 size 0 or 00. Mongoose: i use either rosemary short
flats or langnickel series 5510, size 3, 10,12, 22. However, any
really good quality brushes are fine if you have them already.
Paint: Titanium White (any good brand)
Rembrandt: viridian, cobalt blue lt, ultramarine deep, transparent
oxide red, cad. orange, cad yell deep.
Winsor Newton: terre rosa, alizarin permanent, cad.red, cad.yellow
pale, yellow ochre pale, magenta
Optional: rembrandt cad.yellow lemon, transparent oxide brown. Winsor
newton transparent oxide gold, permanent rose
Once again, these are my choices, don’t feel you have to buy all these
if you have other brands/colors.
Fee: $300. members, $330. non-members
Ray Hassard - Plein Air in Oils and Pastels
www.rayhassard.com
Open to all levels of painters, from beginner to advanced.
Three day workshop, July 20, 21, 22, 2012
9:00 am to 4:00 pm
Nothing is more wonderful than painting outside in a beautiful place, with lovely weather and friends. Working en plein air can be very challenging, but it is always worth the effort. Ray will share with you a wealth of information on the subject, as well as the overall principles of painting. We will spend time on the most important thing: getting off to a good start. Nature offers us a wealth of fascinating subjects, but we need to limit what we pick from the buffet or suffer from visual indigestion. With plein air painting, it is important to learn what to leave out so we can avoid painting those pesky leaves that are so attractive, when we actually want to paint the forest.
In many ways, a plein air painting is a "memory" painting of an impression that attracted our attention. We will work up small thumbnail compositions and value studies to determine the best way to emphasize the concept behind the painting. This gives you the "mind" of the painting. The importance of finding the big shapes in the landscape will be taught, as well as ways to actually see those big shapes. That builds the "skeleton" of the work. "Fleshing out" the painting will be done with values, color, and edges--all of great importance. Using values and colors to impart a good sense of depth in a landscape will be touched on as well. And to get the most of painting outdoors, practical matters considerations such as basic supplies, outdoor setups, and transporting fresh artwork after painting will be discussed.
We will probably do at least one very good (and fun) exercise; maybe more. There will be a demo on the first morning, taking a painting from concept to finish. Depending on the overall class, there may be a second demo on the last day. Because Ray is primarily a pastellist, demos will be done in pastels. Ray will have a slide show of plein air paintings (his own and others) to illustrate important aspects of plein air practice. At the end of each day, we will have a brief group critique and discussion of the day's paintings. Above all, it is very important for students to paint on site, and you will produce at least one painting each day, with lots of personal attention at the easel as you work.
Fee: $200. members, $230. non-members
Qiang Huang - Still Life Workshop
www.qhart.com
Three Day Workshop, Oct. 24 - 26, 2012
Qiang's approaches to still-life painting will be demonstrated with particular focus on composing dramatic setups by observing the light distribution, and using bold and loose strokes to create a powerful and accurate representation on canvas. Using demonstrations, presentation, and individual assistance, Qiang will explain his process of creating energetic paintings by manipulating values, colors, edges, and brushwork. Personal attention will be given to each student according to his/her currently skill level and personal goals in art. The workshop is designed for indoor practice with live settings.
As a self-representing artist, Qiang will also share his experience of marketing art using the Internet tools. He will demonstrate how to advertise artwork using blogs, websites, email newsletters, and on-line galleries. His way of using eBay to conduct on-line sales will be introduced, including image capturing, posting, selling transactions, and shipping. As a self-discipline and an effective way of communication, Qiang will discuss his daily-painting practice.
Qiang Huang (pronounced as Chong Wong) came from China. He has studied art from multiple master artists like David Leffel and Sherrie McGraw. His paintings show remarkable accuracy and expressive brush strokes. Since 2004 his paintings have been selected continuously for the 14th, 15th, 16th and 18th Oil Painters of America's National Juried Exhibitions. American Artist Magazine has featured his teaching on the summer issue of the "Workshop".
Fee: $350. members, $380. non-members