Painting with a Concept
Location: Scottsdale Location
Room: TBA
Apr 12-16, 2010
Meets 9:00 AM-4:00 PM
on Mon Tue Wed Th Fri
Tuition: $810.00
Model Fee: $35.00
Level: BEG-PRO
Status: This program is completed
Most painters feel they have succeeded when they can paint a subject convincingly. Although painted images can be captivating, there is more to a compelling painting than technical proficiency. When an image compels the viewer to return to it repeatedly, the underlying reason is the concept. Rather than seeing each object as a separate entity, concept establishes a relationship between objects and builds something that is greater than the individual parts. This underlying visual message creates a beauty beyond subject matter and is the real reason behind the painting. Visual ideas are less personal and more universal, and ultimately create a more compelling and sublime painting.
Instructor -- Sherrie McGraw
Sherrie McGraw studied at the Art Students League of New York, where she later became a teacher. Her work has appeared in shows with the Salmagundi Club, American Artists Professional League, Hudson Valley Art Association and National Arts Club. She has been featured in American Artist, Southwest Art, Art of the West, and Art Talk and she recently published an article “The Heart of Drawing,” for Linea, the Art Students League journal. McGraw is the author of the acclaimed book, The Language of Drawing: From an Artist’s Viewpoint. www.sherriemcgraw.com
- Paints (Old Holland or Vasari Paints)
- Genuine Naples Yellow Light (Vasari Paints, vasaricolorsny@aol.com, 1-800-932-9375 )
- Yellow Ochre
- Venetian Red or Terra Rosa
- Cadmium Yellow Deep
- Cadmium Yellow Light
- Cadmium Red Light
- Pthalo Blue
- Ultramarine Blue
- Burnt Umber
- Raw Umber (Vasari or Windsor Newton)
- Ivory Black
- Alizarin Crimson (Vasari)
- Transparent Oxide Red (Old Holland)
- Brushes: Silver Grand Prix (or your favorite brand) filberts and/or extra long filberts (#3, 4, 6, 8, 10, 12)
- Preferred Medium: Maroger (Old Masters Maroger; http://www.oldmastersmaroger.com/flemish.htm; 505-758-2382/ PO Box 1936/ El Prado, NM 87529 USA)
- Preferred Surfaces
- Smooth Surfaces: Inner Glow boards (http://www.jerrysartarama.com/art-supply-stores/online/542)
- Gesso Boards, portrait linen with lead priming from http://www.newtraditionsartpanels.com/products.html
- Tone boards with a medium value using a medium and Ultramarine Blue and Burnt umber, or any neutral combination. Then use a paper towel to take off excess and create an even tone.
- Stretched linen canvases: If double-primed, add one more coat of white lead and allow to dry for two weeks before using. Thin white lead (flake white, cremnitz white, silver white) with a little turpentine or maroger and use painting knife to “press” the paint into the holes of the canvas, not obliterating the weave, but filling up the holes. Then scrape off the excess. Continue process until the surface is smooth and yet still has the character of linen. This is the most sublime surface on which to paint.
- Palette: Use Plexiglass or glass palette. If using plexiglass, peel off the protective paper that has writing. If using glass, put a piece of cardboard on the back to give it a medium value while painting. Please do not bring paper palettes as their white color makes judging value very difficult. A280, L280, and OG280
- Painting Knife: Please have a clean painting knife with a long, graceful shape. Use a razorblade to scrape off any encrusted paint.
- Paper Towels: Bounty