Class and Workshop Archives

Winter and Spring 2017 : Workshop : Developing Your “Color GPS”: Frank Hobbs

Rich, luminous, vibrating color is a quality shared by great perceptual painters such as John Singer Sargent, Joaquin Sorolla, Isaac Levitan and others, past and present. Their secret: an unshakeable sense of orientation in the value scale. Like the GPS units many of us use in our cars, these painters navigate color space with an infallible sense of direction. In this workshop we will work outdoors from the local landscape and in the studio to investigate the powerful link between tonal values and the universe of color. Whatever your experience level, this workshop will provide keys to developing a richer, more varied color palette while addressing the fundamentals of luminosity, volume and space in landscape painting. All fine art media accepted.

Winter and Spring 2017 : Workshop : Watercolor Along the Garden Path: Paige Smith-Wyatt

Enjoy a stress-free approach to watercolor and learn to utilize the unique qualities of this medium to create vibrant, expressive florals. Workshop will include demonstrations and significant one-on-one instruction. Discussion will cover photographic references and how to use them to give life and energy to the subject. While concepts of art and design such as color theory and composition will be discussed, Paige encourages each student to follow their own unique path to completing paintings, with the goal of instilling enthusiasm and confidence in the student. Depending upon student interest, Paige will also demonstrate her technique of waxing a painting and mounting it onto a wood panel for a modern presentation.

Winter and Spring 2017 : Class : Working with the Figure: Drawing and Painting: Jeffery Stockberger

Throughout history, the human figure has been one of Art’s most enduring and challenging subjects. This class will focus on expressing the figure through drawing and painting from the live model. We will look at the masters both old and new, discuss color, composition and the creation of a pictorial space for the figure to exist. We will work through some of the challenges this essential subject presents through group and individual instruction. Participants are welcome to work in their chosen medium; a basic suggested supply list will be provided.

Winter and Spring 2017 : Class : Start or Grow: Beginner and Intermediate Drawing and Painting – Second Session: Janly Jaggard

If you have always wanted to draw or paint but never had the time or courage – the time is now! Janly is an experienced instructor who will show you the ropes, open doors and help you learn how to see and render the real world. If you are in the intermediate phase of working but want to develop personal style, Janly will guide you without imposing her style on you. Beginners will draw from observation and work towards painting if they wish. All students work with their medium of choice.

Winter and Spring 2017 : Workshop : Silkscreen Painting: New Methods and Mixed Media: Fred Nichols

Students will experiment with new techniques and combining various media with silk screen printmaking. Projects include creating monotypes, hand coloring, photo stencils, paper stencils, and incorporating painting with printmaking. The workshop will include lectures, demonstrations, and hands-on projects with a final critique.

Winter and Spring 2017 : Class : Drawing for Form: Elizabeth Geiger

This course is for anyone wanting to improve the sculptural quality of their drawing. Using a variety of charcoals, we will focus on the weight and mass of objects. Each class will start with a consideration of homework drawings, followed by a short discussion with examples from instructor’s and other artists’ work. Participants will then work from observation on large, extended drawings that will take several class periods, and will spend warmer class days outdoors drawing trees.

Winter and Spring 2017 : Workshop : Modernizing the Techniques of the Masters: Jan Olsson

Flemish Renaissance masters used egg tempera underpaintings for oils, developing shadow and highlights in gray then applying oil glazes to establish local color. This workshop introduces modern updates to these methods. Working from photographs and using acrylic paints, students create a tonal underpainting of their subject. Subsequent layers of colored transparent glazes are applied, followed by opaque brush strokes to complete the painting. This process quickly renders volume and depth, while preserving the texture and personality of the underpainting’s brushstrokes.

Winter and Spring 2017 : Class : Theory and Practice of Drawing and Painting – Second Session: Ron Boehmer

Course emphasis is on personal development of skills; understanding of both specific and universal concepts related to painting and to art; further development of technical command of paint. Instruction includes focus on representational, abstract, and expressionistic modalities of painting. Class will meet outdoors when possible to focus on plein air painting processes. Students may work in any painting or drawing medium. Ideal for intermediate and advanced level students. Course is open to “beginners” upon prior approval of the instructor. Beginners must contact Ron at 434-528-4795 before enrolling to discuss the class and obtain a personal supply list.

Winter and Spring 2017 : Class : Art as Exploration: Critique Class – Second Session: Robert Stuart

Participants bring their work in any media for constructive review. The goal is growth as an artist through a deepening discernment of strengths and challenges in one’s work. Artistic development will also be supported with the study of current art exhibitions and topics in contemporary art. Exhibition catalogs, articles on art and pertinent visual material will be presented and discussed at the beginning of class. The remaining time will be equally divided among participants to present and discuss their work.

Winter and Spring 2017 : Workshop : : Priscilla Long Whitlock: Priscilla Long Whitlock

Do you have a small painting that you would like to paint in a larger size, but don’t know where to start? Bring two or three small studies and we will work on making a large rendition. Be ready to warm up, work fast and stay loose. Study size should be about 9×12, 11×14, 12×16 (or squares). A list of possible large format sizes will be available in the materials list. Oil paints, acrylics and oil sticks welcome. We will discuss viewpoint, viewing distance, scale, composition, materials and mark making. Demos and warm ups.

Winter and Spring 2017 : Class : Indirect Painting – Second Session: Jeffery Stockberger

Explore the concept of indirect painting; developing an image and resolving problems through multiple layers of paint. Working from still life, students will concentrate on developing a painting’s composition and color palette by responding to and building on marks made on the canvas. Through group and individual critiques, you will work on establishing good oil painting habits and techniques. Students may work in other painting materials with the permission of instructor.

Winter and Spring 2017 : Workshop : Travel Sketching Workshop: Cleveland Morris

Next time you’re on vacation and are struck by a sight you’d like to record, don’t snap a photo, reach for your sketchbook instead! This one-day workshop will get you started. You’ll learn how a minimum of time and equipment can actually work to your advantage. Using a technique devised by the instructor and featured in recent issue of Drawing, you will see how you can start capturing such varied possibilities as scenery and architecture, activity and commotion, fellow travelers and interesting faces and figures. Most of all, you’ll see how travel sketching – far from simply recording your trip – can become a treasured component instead.

Winter and Spring 2017 : Workshop : Review and Feedback: An Open Critique: Al Gury

Al Gury is chair of the Painting Department at the Pennsylvania Academy of Fine Arts in Philadelphia. He has received numerous grants and awards for painting and arts education, and was designated a master teacher by both the University of the Arts in Philadelphia as well as American Artist Magazine. Al will lead a group discussion and critique of student work. Participants are invited to bring two or three pieces of their artwork for review and feedback. All levels of experience are

Winter and Spring 2017 : Workshop : Alla Prima Workshop: Essentials of Direct Portrait Painting: Al Gury

Skill development and problem solving will be the focus of this workshop, with presentations and demonstrations balanced with ample painting time with a live model. Topics include anatomy, structure, palettes and color, with the goal of improved portrait drawing skills, color mixing and process. Students will work on several portraits of moderate size that can be completed in the classroom. Open to all painting media.

Winter and Spring 2017 : Workshop : Ceramic Sculpture Workshop: Hand Built Vessel Forms: Janly Jaggard

This intensive workshop focuses on hand building techniques with emphasis on surface texture and pattern development. Students will learn two techniques for building form: coiling and slab. After designs for form have been developed on paper, building and fine tuning the detail of form will take place. As the work develops we will concentrate on various options for surface decoration through exploration and experimentation, including slip decoration, added or subtractive surface detail, and incised work. A glaze day will follow up for about two hours on March 25.

Winter and Spring 2017 : Workshop : Life Painting: Portraiture with Breadth, Unity and Atmosphere: Henry Wingate

This workshop will focus on the benefits and practical considerations of painting with a live model. Topics include setting up your studio and the use of natural light, choosing canvas or linen, white or toned surfaces, and which colors to use for flesh tones. Discussion will cover more advanced concepts such as: “losts and founds”, how unity is achieved in a portrait, placing a head on the canvas, capturing the “big look”, and how not to get caught up in the details. One hour demo each morning followed by painting time and one-on-one critiques. For oil painters.

Winter and Spring 2017 : Workshop : Painterly Techniques with Wool and Silk: Lisa Jacenich

Painting with fibers has been going on for thousands of years. Students will learn techniques from Turkey, Croatia, Mongolia and the U. K. for creating works of art in wool and silk. Practically anything you can do with a brush, you can do with fibers. The flexibility of this medium is what makes it so enjoyable – and changing your mind is easier with wool than with paint. Color blending and wet and dry felting techniques will be used to turn your visual images into spectacular felted wall hangings. Instructor will provide a luscious assortment of colors in wool, silk and pre-felt for canvas. Raw silk in various forms will be used to enhance and accent the designs. A supply list of common household items will be furnished upon registration.

Winter and Spring 2017 : Workshop : Landscape Painting in the Studio: Karen Blair

Wind, fog, heat and even birdsong can find a way into paintings. When it is too cold to paint outside artists can use photo references, drawings and memory to create powerful studio paintings using oil, acrylic, colored pencils, oil pastels and oil sticks. Atmospheric effects in a landscape can be enhanced by abstracting and distilling ideas into powerful reminders of a season or a mood. Karen will begin with a slide show of her own work and demonstrate with paint how to bring life to the landscape. Participants should bring photos from any season along with drawings and small paintings to use in this

Winter and Spring 2017 : Class : Indirect Painting – First Session: Jeffery Stockberger

Explore the concept of indirect painting; developing an image and resolving problems through multiple layers of paint. Working from still life, students will concentrate on developing a painting’s composition and color palette by responding to and building on marks made on the canvas. Through group and individual critiques, you will work on establishing good oil painting habits and techniques. Students may work in other painting materials with the permission of instructor.

Winter and Spring 2017 : Workshop : Painting with Fire: Vitreous Enamel on Copper: Janly Jaggard

Vitreous Enamel is colored, powered glass fused onto metal at high speed and temperature using a kiln. This workshop explores composition, surface qualities and layering of transparent and opaque color, as the wall panels that are created develop into resolved pieces rather like painting. Various techniques will be introduced to suit the design choices of each student. “Framing” the work for display will be discussed. Copper available for purchase at cost, all other enamel materials are provided. A materials list of basic supplies will be provided.

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