Upcoming

NEW WORKSHOP: Full Color Long Pose Figure Painting

Saturdays
September 4 – November 6, 2021
1-4 pm EST
Format: HD Zoom and Google Classroom
**lectures and demos will be recorded for your review; videos will be available for purchase (at a reduced price) to students who cannot attend, for a limited time only.

Price: $400
*students must register and pay fees in full before receiving links and invitations necessary to participate.

In this class our goal is to progress slowly and methodically through a systematic procedure designed to enable realistic figure painting. We will employ gesture, block-in, a simplified duotone underpainting, color study for range and key, and finishing procedures such as glazing and couching as we proceed from beginning to end. The class will consist of a couple of days of short poses to start, and then proceed into a multi-day pose (approximately 8 days) that will gradually be developed and fine tuned throughout the majority of our class time.

MATERIALS LIST:
Brushes
• Several #3 – #4 Filbert or Bright Bristle brushes
• Several smaller synthetic or sable brushes (#4, 6, or 8 cat’s tongue brushes are ideal)
• Larger (2”) soft, non abrasive flat brushes will be used later in the process
• An alpine blender knock down brush or other similar brush used to flatten ridges without disturbing paint placement
Canvases
• 2-3 canvases for the first couple of weeks, toned with Golden Acrylic Neutral #6 (9 x 12 inches or 12 x 16 inches),
•One larger canvas (16 x 20 inches or 18 x 24 inches) for the long pose, toned in the same manner
Miscellaneous
• A prepared wooden palette
• Palette cups or seal-able jars
• A seperate sealable jar for medium storage
• Odorless mineral spirits
• Viva Paper Towels
• A jar of Stand Oil
• A can of Spray Retouch Varnish
• Q-tips or a palette knife are optional
Paints
*while this exact palette is not required, it optimizes color potential in terms of range and key.
• Burnt Sienna (Winsor & Newton)
• Alizaren Crimson (Winsor & Newton)
• Permanent Rose (Winsor & Newton)
• Perelyne Red (Gamblin)
• Cadmium Red Deep (Winsor & Newton)
• Red (Winsor & Newton)
• Cadmium Scarlet (Winsor & Newton)
• Cadmium Orange (Winsor & Newton)
• Indian Yellow (Winsor & Newton)
• Raw Sienna (Winsor & Newton)
• Cadmium Yellow (Winsor & Newton)
• Cadmium Yellow Pale (Winsor & Newton)
• Cadmium Green Pale (Winsor & Newton)
• Cadmium Green (Vasari)
• Viridian Green (Winsor & Newton)
• Pthalo Green (Gamblin)
• Pthalo Turquiose (Gamblin)
• Cerulean Blue (Winsor & Newton)
• Cobalt Blue (Winsor & Newton)
• Ultramarine Blue (Winsor & Newton)
• Dioxazine Purple (Gamblin)
• Quinacridone Magenta (Winsor & Newton)
• Titanium White (Winsor & Newton)

**model reference material will be provided.

Please email me here, with questions or to enroll, with an ALL CAPS subject line that
says LESSONS.

NEW WORKSHOP: The Alchemy of Oil Paint: Glazing, Velatura, and Impasto

Tuesdays
September 14 – November 16, 2021
1-4 pm EST
Format: HD Zoom and Google Classroom
**lectures and demos will be recorded for your review; videos will be available for purchase (at a reduced price) to students who cannot attend, for a limited time only.

Price: $400
*students must register and pay fees in full before receiving links and invitations necessary to participate.

In this class, we will take a practical look at the effective use of medium, as it applies to optical light effects within an oil painting. We will look at glazing in the shadow masses as a means of creating atmosphere and depth, enhancing color, and preventing unwanted sinking in; impasto in the light mass to add opacity, to extend and enhance range, and to suggest plane and relief, and velatura in between in order to establish the darklights within the light family, while simultaneously creating the illusion that they are receiving less light than planes that sit more perpendicular to the light. We will start with the common misconception that glazing is a strategy for adding color to a black and white underpainting, and move from there into an exploration of these effects within the context of full color painting.

MATERIALS LIST:
Brushes
• Several #3 – #4 Filbert or Bright Bristle brushes
• Several smaller synthetic or sable brushes (#4, 6, or 8 cat’s tongue brushes are ideal)
• Larger (2”) soft, non abrasive flat brushes will be used later in the process
• An alpine blender knock down brush or other similar brush used to flatten ridges without disturbing paint placement
Canvases
• 3-4 canvases toned with Golden Acrylic Neutral #6 (9 x 12 inches or 12 x 16 inches)
Miscellaneous
• Drawing Paper (same size as canvas)
• Pencils, erasers, etc.
• Soft charcoal
• A can of workable fixative
• Masking tape
• A prepared wooden palette
• Palette cups or seal-able jars
• A sperate sealable jar for medium storage
• A jar of stand oil
• Odorless mineral spirits
• Viva Paper Towels
• Q-tips or a palette knife are optional
Paints
*while this exact palette is not required, it optimizes color potential in terms of range and key.
• Burnt Sienna (Winsor & Newton)
• Alizaren Crimson (Winsor & Newton)
• Permanent Rose (Winsor & Newton)
• Perelyne Red (Gamblin)
• Cadmium Red Deep (Winsor & Newton)
• Red (Winsor & Newton)
• Cadmium Scarlet (Winsor & Newton)
• Cadmium Orange (Winsor & Newton)
• Indian Yellow (Winsor & Newton)
• Raw Sienna (Winsor & Newton)
• Cadmium Yellow (Winsor & Newton)
• Cadmium Yellow Pale (Winsor & Newton)
• Cadmium Green Pale (Winsor & Newton)
• Cadmium Green (Vasari)
• Viridian Green (Winsor & Newton)
• Pthalo Green (Gamblin)
• Pthalo Turquiose (Gamblin)
• Cerulean Blue (Winsor & Newton)
• Cobalt Blue (Winsor & Newton)
• Ultramarine Blue (Winsor & Newton)
• Dioxazine Purple (Gamblin)
• Quinacridone Magenta (Winsor & Newton)
• Titanium White (Winsor & Newton)

**model reference material will be provided.

Please email me here, with questions or to enroll, with an ALL CAPS subject line that
says LESSONS.