Workshops

Portrait Drawing Intensive with Dan Thompson ~ April 1-2, 2017

This structured, two—day long (approximately a 8 hour pose) course will offer students a unique opportunity to engage, interpret and create a compelling drawing of the head and shoulders from life. Throughout the development of the long pose drawing, participants will be guided—by means of descriptions and demonstrations—on planar head landmarks, light and tonal effects on the flesh, construction and how perspective alters the appearance of structure, comprehending/interpreting form through dynamic mark making and expressive feature drawing. Criticism will exist in the form of lecture demonstrations (for planning and troubleshooting) and in one on one exchanges.

Dan Thompson has been awarded extensively for his artwork, receiving the Grand Prize for Best of Show in the American Society of Portrait Artist’s International Portrait Competition at the Metropolitan Museum of Art in New York, the Erlebacher Award from the New York Academy of Art, two Ethel Lorraine Bernstein Memorial Awards for Excellence in Painting from the Corcoran, two Elizabeth Greenshields Foundation Grants, as well as many others. He has been designated a Living Master by the Art Renewal Center.

Dan Thompson co-founded two schools of Art in New York, NY: The Grand Central Academy of Art and the Janus Collaborative School of Art.  Mr. Thompson has served on the MFA faculty of the New York Academy of Art for fifteen years; he is both a faculty member of Studio Incamminati and an associate of the Artistic Advisory Committee. 

Dan Thompson’s work has been exhibited in public and private collections throughout the world, including the Eleanor Ettinger Gallery, John Pence Gallery, Arcadia Gallery, the Art Gallery of Ontario, the Corcoran Gallery of Art, The John Noble Museum, The Pasadena Museum of California Art, the National Arts Club, the United States Capitol and Beijing’s World Art Museum.  To read further, please visit DanThompsonArt.com.

 

Supply List:

Graphite Pencil: Mitsu-Bishi “Hi-Uni” graphite drawing pencils (4H, 2H, HB, H, F, B, 2B, 4B) or

Tombow Mono 100 graphite drawing pencils;

Strathmore 400 white/cream drawing paper, 18×24” (brown cover, 80lb. weight);

OPTIONAL:  1 sheet of Strathmore 500 series, 2—ply, 23×29”, Bristol vellum (not plate)

blending stumps

kneaded erasers

tape

drawing board

A variety of clips for securing paper

Book List:

  • The Human Figure, Vanderpoel, John. H. The Inland Press, Chicago, 1907  (available on Dover Publications, New York, 1958)
  • The Practice and Science of Drawing, Speed, Harold.  Seeley, Service and Co. Ltd.,  London, 1917.  (also available on Dover Publications, New York, 1972)
  • Draftsman’s Handbook, Keller, Deane G. Lyme Academy College of Fine Arts, 2003
  • The Art of Seeing and Painting, Hensche, Henry. Portier Gorman Publications, 1988.
  • Atlas of Human Anatomy for the Artist, Peck, Stephen Rogers. Oxford University Press, 1951
  • Modeling and Sculpting the Human Figure, Lanteri, Eduard. Dover Publications, Inc.  1986 (originally published 1911)

Painting Luscious Floral Still Life with Effigies with Teresa Oaxaca ~ Jan 27th-29th, 2017

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Teresa Oaxaca is an American born artist based currently in Washington D.C. She is a full time painter whose works can be seen in collections and galleries throughout the US and internationally. Her talent has been recognized and rewarded by museums and institutions such as the American Museum of the Cowboy, The former Corcoran Gallery of Art, The Art Renewal Center, The Elisabeth Greenshields Foundation, the Posey Foundation, and The Portrait Society of America and the Museu Europeu D’Art Modern in Barcelona.

This 3-day workshop will teach still life painting using both direct and indirect methods. Students will receive a lecture and two instructor demos, and given opportunity to make two such paintings using this method with instructor critiques, all while observing and painting from the live model.  Drawing, composition, value, color and edges will be discussed as well as art materials.

During the lecture and the class the symbolism and significance of vanitas themes, masks and dolls and other votives or human or animals effigies will be discussed in history and in current practice.  An effigy (a representation of a person, especially in the form of a sculpture)- helps provide anomaly and interest, both contextually and aesthetically, in an otherwise wild and living arrangement of plants.  The human brain, hard wired to see and recognize faces and make sense of disorder, can find endless hours of study in creating, painting and admiring arrangements such as this.

Tuition $465

 

Special Opening Night/ Masquerade Ball Vernissage at Miano Gallery

Join us for a magical evening to celebrate a showing of original works by figurative artist Teresa Oaxaca at M Gallery.

on Jan 26th at  6:00pm at Southern Atelier.

(Please come dressed in masquerade for the occasion!)

 

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Workshop Supply list 

Palette:

This is the recommended palette I use (Pigments Available at Natural Pigments We

bsite):

http://www.naturalpigments.com/teresa-oaxaca-palette.html

Basic Palette:

Ultramarine Blue Green Shade

Antica Green Earth

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Lemon Ochre (Yellow Ochre)

Chrome Yellow Primrose (cadmium yellow)

Lead Tin Yellow Dark (naples yellow)

Orange Molybdate (cadmium orange)

Pozzuoli Red (Venetian Red)

Alizarin Crimson

Cypress Umber Raw Dark (raw umber)

Lead White #1 (or titanium)

Bone Black (Ivory Black)

A red (Vermillion of Cadmium red light)

 Extended Palette:

Vermillion (Cadmium Red) IMPORTANT please make sure you have one

Maya Blue

Cobalt Chromite Blue (Cerulean Blue)

Verona Green Earth

French Umber

Mediums:

Oleogel

Expoxide Oil

Rublesol (odourless mineral spirits)

Or you can substitute some or all of these colors with pigments of similar names (shown in parentheses) should you already have some or are unable to get a hold of Rublev colors.  The selected list is however preferable as it is an integral part of my working palette and it has been selected for paint handling qualities and quick drying time so that your progress in the workshop may run smoothly without the added difficulty of having to work over still wet or tacky paint.  You will notice the high number of earth colors, umbers and leads. The oils that bind these pigments and that will be used as a medium also exemplify quick drying times.

 Supports:

2 18×24 inch canvases (stretched or mounted on panel, or on dibond)

oil primed canvas is preferable.  You may also go bigger.

 

“Facial Features, Forms and Expressions”: Sculpture for Painters with Edward Jonas ~ 17th – 18th February 2017

Fundamentals of Likeness

ed-jonasIn art schools, up until the middle of the 20th century, it was a fundamental practice to require all art students to master their drawing skills before advancing to painting and sculpture. And for the study of the human figure it was obligatory to work in both disciplines as it provided a clearer understanding of space, form and movement.
Join us as renowned sculptor, Ed Jonas, explains the “Fundamentals of Likeness” which is important for both painters and sculptors.
This class will demonstrate “how to” sculpt the feature and explain how these shapes and forms alter when showing different facial expressions and emotions.

An understanding of the proper shape and proportions of the nose, eyes, mouth, and ears will make drawing and painting those surfaces much more successful when you “know” what you are observing.

male-youthThe class will cover:

  • How to properly sculpt facial features.
  • What to look for and how to see when sculpting.
  • How shapes and forms alter when showing different facial expressions and emotions
  • Racial and gender variations and characteristics
  • Understanding features that can share a commonality in unique characteristics.
  • Thinking visually and then developing your ideas in wax sketches.
  • Mold making ideas and options.
  • The keys to gaining a likeness and expression in your work.

Workshop fee: $385 + model share 

Materials list:

Modeling Clay.  Plastilene also called plasticene or plastilina.

There are two types of sculpting clay, oil-based clay and water based clay sometimes called earthen clay. The instructor will be using an oil-based clay but students may follow their preference.

Armature for sculpture of life size human head.

These can be purchased pre-made  (Jack Richeson Art Materials, Sculpture House, or The Complete Sculptor ) or the instructor can send instructions on how to build your own.

Calipers and metric ruler.

Spatula, like a cake frosting type an/or putty knife.

Small wax sculpting tools, if you have them, popsicle sticks can be used just as well when trimmed down with an exacto-knife.

Plumb bob and string. optional.

Traditional Realism: Alla Prima Oil Painting with Max Ginsburg ~ March 6-10, 2017

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Painting from life WORKSHOP

In this workshop, students will paint from life, observing the model carefully to see and understand the form and also express the character of the individual posing.  The objective of the workshop is to develop skill to paint realistically in the tradition of the Old Masters.  Max will critique each student’s painting daily, give painting from life demonstrations, and give talks about contemporary and traditional art in relation to the paintings we are doing in this workshop.

WORKSHOP FEATURES:

* Live models daily

* Studies and long poses

* Ginsburg critiques and demonstrations daily

* Discussion of the concepts and procedures CONCEPTS EXPLORED

* Capture the unique character of the model

* Observing form and proportions carefully

* See color as form, using warm and cool colors

* Consider the illusion of depth

* See and paint the relationships of form

Dates:  March 6, 7, 8, 9, 10

Price:  $850

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Painting Best Practices Workshop – November 18–20, 2016

painting best practicesThe workshop consists of lectures accompanied entirely by projected digital images, questions and answers and art materials demonstrations. We encourage you to ask questions all throughout the workshop.You are welcome to photograph the projection screen during the workshop, but only for your personal use; do not distribute the images to others due to copyright infringement. Please no audio or video recordings during the workshop.

There is no need to bring any supplies, except a pen or pencil and notebook. We will distribute several printed handouts on the first day of the workshop, but you will want to take copious notes during the workshop. One student made over 20 pages of notes at a workshop.
 Instructors
George O’Hanlon, Technical Director of Natural Pigments
Tatiana Zaytseva, Administrative Director of Natural Pigments
Tuition: $450

For more information please visit the website at: 

www.naturalpigments.com/art-supply-education/painting-best-practices/

Expressive Compositions in Oil with Jove Wang ~ December 5th-9th, 2016

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Special Event – Jove Wang inaugural visit to the

Sunshine State of Florida at Southern Atelier.

Join Chinese master Jove Wang in this 5-days oil painting workshop. Jove will communicate his masterful understanding of design elements for creating intuitive still life compositions. He will explain and demonstrate a variety of principles including:

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  • Pictorial composition
  • Vibrant color harmony
  • Expressive brush work
  • Thick and thin paint handling
  • Shapes
  • Values
  • Edge work

 This workshop is open to all levels – Cost: $950

 Supply List:

This is a suggested list. There is no requirement. Bring whatever you are most comfortable with and are already using.

Canvas: cotton, linen or wood panel- Gessoed or oil primed – bring various sizes equivalent to 8×10, 12×16, 16×20, 18×24

Bristol brushes – filbert or flat – Various sizes equivalent to 1, 2, 4, 6, 8, 10

Palette knives

Wood palette. White paper palette is not recommended.

Oil paint – Bring any colors that you are already using. In particular you can bring – titanium white, lemon yellow, cadmium yellow, yellow ochre, cadmium red, alizarin crimson, burnt umber, ultramarine blue, viridian and manganese blue.

Paper towels and sketch book

 Biography

Expressive Compositions in Oil with Jove WangJove Wang was born in China. As a youth, at age seven he apprenticed with the master painter Gang Gu, subsequently studying at Jilin School of Art for three years and graduating in 1982.

In 1984 he was accepted into the most prestigious art institute of China, Zhejiang Academy of Fine Arts (now named the China Academy of Art) and graduated as an honor student in 1988.

He also received professional training from the Tokyo Academy of Fine Arts.

In 1990 Jove Wang immigrated to the United States where he soon met with success, the beginning of a career that has garnered him national recognition.

In 1992 he was commissioned to paint a portrait of Bishop Roger Mahony for the Archdiocese Catholic Center in Los Angeles, and the following year painted a second portrait of Mahony, who by then had been named Cardinal, for exhibition at his Titular Church in Rome.

Other commissioned portraits followed, including Los Angeles County Supervisor Michael Antonorich.

Since then he has turned his focus to painting scenes of the indigenous cultures of China, based on numerous travels into the far reaches of that country.

In 1997 Jove Wang was honored with the Best of Show at the California Art Club’s 88th Annual Gold Medal Juried Exhibition, and the following year he took the First Place in the figure category in the California Art Club’s 89th Annual Gold Medal Juried exhibition.

In 1999, he earned the Best of Show at the 8th Annual National Juried Exhibition of Oil Painters of America.

In 2000 he took the First Place at the prestigious Viewpoint 2000 Cincinnati Art Club Exhibition. That same year he also won three prizes at the Plein Air Tucson 2000 Exhibit in Tucson (Grand Prize, Best of Mission, and Best Design/Architecture).

In 2001 he won the Best of Show and Artists’ Choice Award at the 2001 Carmel Art Festival.

In March 2008, Jove’s portrait “Young Man” won Gold Medal Award by Japan Artist Association at Tokyo National Museum.

In 2009, “A Day on the Silk Road” was selected by the 11th National Exhibition of Fine Arts in China.

In 2003 Wang published a book of his paintings, entitled “Instinct and Feeling.”

From 1999 to 2006, Jove Wang was invited to present his works for solo exhibitions in many galleries and museums.

California museums that have shown his paintings include the Pasadena Museum of California Art, the Pasadena Historical Museum, the Laguna Beach Art Museum, the Carnegie Art Museum in Oxnard, the Bowers Museum at Santa Ana and the Frederick R. Weisman Museum of Art at Pepperdine University in Malibu.

Paintings by Jove Wang have also been exhibited at the Springville Museum of Art in Springville, Utah, and the Phippen Museum in Arizona.

In addition, paintings by Jove Wang are in the permanent collections of several important California art collections including those of the Bowers Museum,

the Bakersfield Museum of Art and the art collection of Mission San Juan Capistrano, as well as in the art collection of the Museum of Jilin, China.

Interviews with Jove Wang and reproductions of his paintings have appeared in various magazines including Southwest Art, American Art Collector, Workshop and American Artist.

Jove Wang also maintains a busy schedule teaching art classes and workshops to a wide circle of students eager to learn from a master artist. He has been invited to teach oil painting workshops at various art schools and galleries including the Scottsdale Artists’ School in Scottsdale, Arizona.

In addition, the California Art Club has invited him to give demonstrations and lectures at the new campus of the Art Center College of Design, Pasadena and at the Autry Museum. Jove Wang is also a guest professor at several academies of fine art in China.

Jove Wang is a Signature Member of the California Art Club.

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