Composition and Design: The Backbone of Great Art
Location: Scottsdale Location
Room: TBD
Mar 28-Apr 1, 2011
Meets 9:00 AM-4:00 PM
on Mon Tue Wed Th Fri
Tuition: $585.00
Model Fee: $35.00
Level: BEG-ADV
Status: This program is completed
This workshop will focus on the picture-making skills used to strengthen a painting's composition. Composition and design are the backbone of any good painting. Daily demonstrations will help students visually connect with the various design elements that will be discussed. Aside from painting, the instructor will also present examples of artwork done by masters of the past. These examples will be discussed and dissected in order to better understand why artists make the choices they do while painting. Students are encouraged to paint from models daily and apply the design elements that have been discussed.
Instructor -- Logan Hagege
Logan Maxwell Hagege is a talented artist who excels in depicting the figure and landscapes. Serious study in art started for Logan when an early interest in animation sent him to a local art school. His interest quickly moved from animation to fine art while attending life drawing classes. Logan studied privately under Steve Huston and Joseph Mendez, and has drawn inspiration for his subjects from his native Southern California as well as by traveling extensively to view various landscapes in the American Southwest and the Northeast Coast of the U.S. Logan finds encouragement and guidance in masters of the past such as Gustav Klimpt, N.C. Wyeth, T.W. Dewing and Maynard Dixon. One idea that drives Logan`s work is that evolution in art is never ending, and he is constantly challenging himself with new ideas and ways of looking at the same subject.
- These supplies are simply a recommendation and are the supplies that I use. Any variation on these supplies and brands will work just fine. The information shared in the class is going to be much more important than the supplies that we use.
- Oil Paints: Hansa Yellow Light (Utrecht); Hansa Yellow Deep (Gamblin); Bright Red (Windsor & Newton); Burnt Sienna (Utrecht); Alizarin Permanent (Utrecht); Viridian (Utrecht); Ultramarine Blue (Utrecht); Cerulean Blue (Utrecht); Titanium white or Utrecht White
- Paper Towels: Viva or another good quality paper towel for cleaning brushes
- Mineral Spirits and Container: I recommend using Gamsol, by Gamblin. I use a tin container for my Gamsol, you can find one of these at any good art store
- Canvas/Linen: Since this is a workshop and we will be working on new ideas, don’t feel like you need to bring the most expensive linen to work on. Good supplies make painting a little easier, but we are going to be working on learning new ideas, not creating work that will be end up in a museum.
- I use a few different linens. L600 is a smooth Oil Primed Linen available from New Traditions Art Panels, www.NewTraditionsArtPanels.com (801) 732-0208. I order the linen mounted on Gatorfoam
- Sizes: 12x16 or 16x20, so you will have some room to really paint.
- I would bring at least one canvas for each day of the workshop, maybe a few extras.
- Another linen that I like is from a company called Senso. They make a clear primed linen that is a lot of fun to paint on.
- You can find Senso Clear Primed Linen at some art stores and
- www.JerrysArtarama.com
- Again, any surface that you want to paint on will be just fine, these are just examples of what I like to use when painting.
- Brushes: Filbert Bristle Brushes (Sizes: 4,6,8,10); Flat, Royal and Langnickel Badger Hair Brushes (Sizes: 6,8,10)
- Palette knife for cleaning your palette.
- Palette: I will be using a wooden hand palette made by Turtlewood Palettes, www.turtlewoodpalettes.com
- (615) 599-3813. I use the Pro Series 1 tones palette.
- Any palette option is fine, such as a paper palette or a glass palette.
- Sketchbook: Any sketchbook is fine; we will use sketchbooks for taking notes and doing preliminary composition thumbnails.
- I love Moleskine sketchbooks, they are available everywhere, art stores, book stores, etc.