Studio Concentration: Art and Innovation, Lessons in Seeing and Understanding Painting

Studio Concentration: Art and Innovation, Lessons in Seeing and Understanding Painting

Weeklong Workshop | This program has been canceled

1501 10th Ave East Seattle, WA 98102 United States

TBD

Intermediate

6/22/2020-6/28/2020

9:30 AM-4:30 PM PDT on Sun Mon Tue Wed Th Fri Sat

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$850.00

$765.00

$10.00

This is a workshop in visual aesthetics sensitivity-training by way of many exercises in color, composition, structure, scale, spacial relations and paint application. All are necessary to be in harmony to produce a complete painting to suggest a specific experience in seeing. In addition we search for that “additional reality” which is a frequent effect in a work of art.

Prior basic painting skills are required for this workshop. A class fee of $25.00 will be collected for additional materials and reproductions. An open mind and adventurous curiosity is a must. The words “What If” become our mantra.
Acrylic or oil paints, with a dryer for oils and an extender for acrylics. Please pay close attention to the supplies list. As an experienced painter you will have the basics, but there are many surfaces made clear on this list as well most likely, particular brushes to get.

There will be time in the studio for assignments and instruction every other day.

  • > In preparation for this class, as I will refer to it, please watch on Youtube “Amedeo Modigliani: A Collection of 281 Paintings “ ( 24 minutes). Pay attention to the very limited format and stylistic invention to convey many and varied responses to basic portraiture by way of composition (body language included), paint handling in many ways, color and the spaces behind and next to the individuals - each an individual personality evoking a different response from the viewer. Also, as it is so popular now, the very expressive use of line.
  • >
  • > This is not a class in observational reality or refined realistic painting, but more a total response - emotional, psychological and emotional , as much we can muster, usually found along with an additional reality, in a work of art. Both skills are a great help and highly valued as well in getting across our visual message as strong and clear as possible but not so necessary in this class.
  • >
  • > Being at least an intermediate painter you will already have most supplies on this long list, all necessary for many exercises demonstrating different visual tools to proceed with. Your individual personality will be respected within the confines of the exercise - all used to enable to look and truly see a work of art beyond the pictorial value. We aim for the experiential rather than referential,
  • > as well how to enhance the visual experience. The gathered lies to make the great truth as Picasso stated. The optical mechanics behind a Vermeer that help reach a sublime moment frozen in time. The energy of a great Pollock able to involve you in the creative act, and the spiritual emotion of a fine Rothko. These are all available to you as well through seeing, and their devices can help you develop your own art.
  • >
  • > COLORS; What works best for you? Oils, Acrylics,Watercolors or Chalk Pastels? Oil or acrylics are best. Chalk pastels and oil pastels will vanish fast, and have limited uses in techniques. Your choice, but be SURE to include these basic colors for visual mixing while bringing any and all colors you are already using:
  • >
  • > 1. Titanium White (usually most opaque). If you are using oils a fast drying white will be of great help.
  • > 2. Black - it can be mixed, and preferably so in most mediums, otherwise Ivory Black.
  • > 3. Yellow as pure Yellow without orange or green tint if possible, or to be sure, Lemon Yellow (greenish) and Cadmium Yellow (usually slightly orange). Open it and see.
  • > 4. Yellow Ochre ( may be mixed with orange, green, and white ) and tinted toward many other colors. I find this a work horse color, often used, so get it in a tube.
  • > 5. As bright an Orange as you can find.
  • > 6. Reds - Alizarin Crimson and Cadmium Red Medium ( or the brightest true Red you can find, like Coca Cola Red).
  • > 7. Quinacridone Coral - a magic mixing color ( almost ).
  • > 8. Dioxazine Purple - another magical mixing color, more vibrant than you can mix.
  • > 9. Ultramarine Blue, Cobalt Blue, and Thalo blue. Each has a different hum.
  • > 10.Thalo Green ( Bluish tint if it is not a pure Thalo green, which seems more difficult to find), and Viridian Green.
  • > 11. Burnt Sienna and Burnt Umber.
  • >
  • > Mediums: Gamlin’s Neo Meglips, Gamlin’s Galkyd, and Liquin Oleopasto (if used judiciously - ratio of paint to medium ), will work well without any additional dryer. Acrylic painters will need an extender to keep paint wet longer.
  • > The school supplies a solvent, and we will have an open window so as much air as possible within a comfort zone policy so bring old, warm clothing to class.
  • In addition to all the usual things such as containers, rags, etc. you will need;
  • One soft lead pencil
  • Notebook and pen to take notes.
  • One twelve inch (or larger) ruler
  • One hard smooth surface to tape items to, such as a drawing board approx.26” X 20” or larger,
  • Gage may have some masonite boards suitable for this.
  • Tan artist or other masking tape. NOT BLUE OR ANY OTHER COLOR.
  • Scissors and a mat knife, sharp.
  • A simple pack of colored papers as used in a children’s class room, inexpensive.
  • Glue or paste - anything laying around the house or studio.
  • Paper towels to drain oil from paint, and clean up.
  • BRUSHES - ANY and ALL you may have from stiff bristle to fine hair, pristine to abused - yes, ALL.
  • You for sure will need;
  • 1.Two cheap hardware store stiff bristle brushes; approx. a dollar and a half each, one
  • half an inch wide, and one an inch wide. The cheapest in the store. Also one medium - again as cheap as possible,
  • suitable for painting a doorway - two to three inches wide.
  • 2. A long, soft hair brush, round and slim coming to a point known as a rigger, liner or saber,
  • hair length about 3/4 of an inch or longer probably in the three dollar range.
  • 3. A VERY stiff bristle brush for scumbling; round and about size 5 or 6. Again, cheap is good.
  • Be prepared to paint a very fine and delicate painting and one that has been to Mars and back.
  • SURFACES - make sure they are suitable for your choice of oil or acrylics or whatever you use. Oils can be used on heavier paper, securely taped to a surface.
  • 1. One regular stretched or taped canvas or canvas board or appropriate surface for a continual painting, chosen and developed after the first class, of a landscape.
  • . Choice of photos to work from provided. It should be at least 24” X 30”, in that shape.
  • 2. One regular stretched,or taped or canvas board SQUARE shaped, at least 30” X 30”. This will be an expressive figure complete painting started on the fifth day.
  • No figure painting skill required but an analysis of major shapes and forms, developed as you wish with color making the space and forms. The model will be available for two days.
  • 3. Any size bigger than 15” in all directions, height and width. Surface suitable for painting. This is to be an ugly painting, on a continual surface.
  • Any style any way with no redeeming characteristics or as few as possible. Bring it into class the first day please. Directions under “On the
  • 4. Canvas Pad ( sheets of canvas in pad form) at least 10 inches in length or more, in any direction.
  • This also allows for cutting to size and taping to a hard surface for use,
  • first day of class bring...
  • 5 .One Mixed Media Pad, Canton brand,14” X 17”. 98 pound paper, spiral bound pad, 60 sheets. This is suitable for all exercises. It may be cut to other sizes and configurations, cut and pasted. Be sure to see and pay attention to “on the first day bring" for further directions on coloring a few pages in advance, which will be used extensively. Also bring sketching materials to be used, pastels brown or black or both; conte crayons,
  • same two colors ; small calligraphy brush, pen and ink with or without wash, pencil - whatever you are most comfortable with and works for you.
  • please also bring four sheets of canvas from your canvas pad, each one painted A SOLID COLOR, over the entire surface. Each MUST BE DRY ! Please - a SOLID color!
  • 1. Any Bright Red, one sheet, such as Coca Cola red, a true red out of the tube. NOT Alizarin Crimson.
  • 2. Cobalt or Permanent Blue, one sheet - value 4, 5, or 6 on a scale of 1 to 10.
  • 3. TWO sheets of Gray - black and white gray - value 4, 5, or 6 on a scale of 1 to 10.
  • Class fee will be collected the first day- it will be $25.00 or less for additional materials such as reproductions and possibly other items.
  • ON THE FIRST DAY BRING - Everything listed. Materials and supplies may be left each night all week. ALSO
  • 1. Your ugly painting. Not a painting of an ugly subject - the subject may be anything, even a totally abstract work. It should be painted in an ugly manner,
  • no pandering. Use at least four colors, have shapes and forms and make it as visually dimensional as possible. Modeling paste and collage acceptable. Use
  • at least three different painting techniques. Mix unusual colors. This is a serious problem and not easy to solve. Do your best. It is a Clyfford Still exercise,
  • appropriated and used as a standard of genuine involvement in the glory days of San Francisco Abstract Expressionism, circa 1950-1960s. Take a
  • chance while remembering Gerhard Richter’s mantra; “Art loves Chance as Chance Loves Art.” No judgement here as ugly is subjective.
  • 2. Bring an open mind, the willingness to learn by your mistakes ( the best way to learn ), be yourself; there will be much to learn in many different ways.