Instructor | David Luce
Instructor at The Art Center, Pasadena
4 Saturdays | June 5, 12, 19 and 26, 2010
Hours | 10:00am - 1:00pm
Tuition | $200 workshop fee plus $20 model fee

David Luce has taught portrait painting at Art Center College of Design in Pasadena since 1995. Back by demand, from his previous Drawing the Head workshop, this is a live model instruction depicting light and shadow in creating illusion. If you are striving to improve the volume of your portraits this is the workshop for you.

This is the foundation of this head painting class:
Week 1, will present an "Oil Rub Out" Painting Technique with a step by step demonstration. Oil rub out is an excellent transition exercise from drawing to painting.
Week 2, monochrome head painting. - This week, using a limited palette students will concentrate on value and edge control in head painting.
Weeks 3 and 4, color - In this this two week painting, students will develop a f ull color palette head painting. A step by step demonstration will be given both weeks.

Instructor | Jorn Fox
2 Saturdays, June 5 and 12, 2010
Hours | 10:00 am - 4:00 pm
Tuition | 2 week workshop fee $150

Complete this landscape on a Saturday and another street scene the following Saturday. Jorn's students will experience how painting quickly can create energy to your painting style. There is so much to learn as he takes you step-by-step on how to use his limited palette, bold brush work, and expressive stroke.

Instructor | Jason Dowd, Instructor at Laguna College of Art and Design
10-week workshop, April 14 - June 16, 2010
Tuition | 10 week workshop fee $350
Hours | 6:30 - 9:30 pm, Wednesday nights

Visual investigation into observation and accurately representing form in space. The interpretive aspect of drawing and experimentation with drawing media and technique will be explored. Project themes are still life and figure in charcoal. Students will continue to develop composition, spatial relationships, value contrast, pattern and texture.

WORKSHOP OBJECTIVES

• Continued development of observational skills.
• Further your ability to analyze the measurable qualities of form: shape, size, value, texture, and create an equivalent in drawing media.
• Increase interpretive skills.
• Experience drawing media and explore their creative possibilities
• Work towards the development of a personal style
• Continue the process of artistic self-evaluation and analysis of your work and the work of others.

LEARNING OUTCOMES
By the conclusion of this Drawing Workshop, you will be able to convincingly create the illusion of three-dimensional reality onto a two-dimensional surface utilizing drawing media.

This goal will be achieved by learning and utilizing the following concepts and techniques:

• Understand and utilize the following drawing techniques; construction drawing, linear hatching, tonal value drawing
• Understand and utilize a toned ground to convincingly draw: the still life and figure in full value using black and white charcoal
• Understand the properties of value (black and white) and convincingly model form
• Understand when to utilize hard edges, firm edges, lost edges and spatial edges
• Accurately draw the individual characteristics of the observed forms and duplicate the properties of light and shadow to create volume
• Understand the process of drawing the figure from life and/or photographic sources
• Understand and convincingly create the effects of atmospheric perspective.

Instructor | David Luce, Instructor at Art Center College of Design
4-week workshop, April 10 - May 1, 2010
Hours | 10:00 am- 1:00 pm, Saturdays
Tuition | 4 week workshop fee $200, plus $20 model fee

David Luce has taught head drawing and portrait painting for 15 years. As an instructor of the Head Drawing class at Art Center College of Design, David has condensed an eight week course into four sessions, so students may apply what he or she has learned to portrait painting. Students will find that drawing the head will help tremendously with the ability to paint heads. The goal is learning how to understand and construct heads for portrait painting.

The goal of the class is to learn the language of drawing and what the artistic potential of drawing can be. Within that goal are the learning objectives of understanding: structure, massing, planes, value, depth, texture, line quality both for head drawing and equally important drawing in general.

Students best learn the goals of the class by developing both how they see and how they draw. The class builds from a solid foundation of information presented in demonstrations and individually with one- on –one demonstrations. Class size is limited for a low student to instructor ratio.

Week One –
1. Form analysis, construction and mass conceptions of the head, ball and egg construction. Oval, cube and skull construction analysis.
2. Planes of the head, working smaller planes onto larger masses.
3. Rhythm in Drawing: Velasquez analysis.

Week Two – Anatomy Analysis: demonstration of features (eyes, nose & mouth)

Week Three – Value Analysis: mapping of lights, transition tones and shadow patterns. Form and surface concepts: Presentation of Rubens drawing technique.

Week Four – Oil Painting Portrait Lay-In's: Using the language of drawing as a foundation for painting lay-in using the language of painting.

4-week workshop, April 11 - May 2, 2010
Instructor | Taylor Montague
Tuition | 4 sessions $299
Hours | 11 am - 4:00 pm, Sundays
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Learning how to paint an interior, a believable pictorial space, can be an art in itself as well as a forum into which any and all other genres of painting can be placed; such as the figure, still lives, and portraits. We will begin by painting an unoccupied space, concentrating on the elements which make depicted space a compelling subject. After becoming familiar with constructing an uninhabited interior space, we will then compose an interior which is punctuated by the presence of a figure(s) and/or an object(s).

Learning Outcomes:

• Effectively depict volumetric space.
• Accurately identify and transcribe light and represent the visual phenomenon that occurs as it spills over forms and passes through an environment.
• Utilize and maintain a limited palete; using the colors which are the most essential and conducive to portraying an interior space.
• Grasp and employ linear perspective.
• Achieve atmospheric depth and solidity of form.

David Leffel Workshop March 9 -12, 2010, 4 Days 9:30 am to 4:30 pm $995 workshop tuition	David Leffel Demo Wednesday, March 10 6:30 to 9:00 pm $75 preregistration required

Spend four days or one evening with a “20th Century Old Master” painter and understand the how and why of painting. Students will learn David Leffel’s passionate approach on how to use value, color, edges, and paint to construct a painting. David will share his insights from his highly acclaimed 35-year career as a painter and instructor. This workshop is a special engagement by a nationally known artist and limited to 20 students.

David Leffel Workshop | Suggested Material List   (print)

Innerglow Panels
Innerglow Panels have been developed specifically for use with paint. These ½” thick boards are made of acid free laminated wood, and can be ordered unprimed or coated on the front, back and sides with acrylic primer. They have smooth surfaces and can be ordered in standard or custom sizes by calling (877) 430-3639 or visiting their web site, www.BillEwing.com. Paints Vasari and Old Holland. Both are high quality paints. Vasari uses pure pigment and does not have fillers. Old Holland is carried the Art Supply Warehouse or any of the popular art supply catalogues; Vasari is a New York based company, obtained by calling (800) 932-9375. Palette Naples Yellow Yellow Ochre Venetian Red (Pompeiian Red in Vasari) Cadmium Yellow Deep Cadmium Yellow Light Cadmium Red Light Pthalo Blue (Prussian Blue, Schevingnens Blue in Old Holland) Ultramarine Blue Deep Burnt Umber Raw Umber (Vasari brand because it is cooler, or Winsor Newton) Ivory Black Flake White (Cremnitz white, Silver white) Permanent Alizarin Transparent Oxide Red (Rembrandt)

Brushes
Filberts: (Bristle) #3, 4, 5, 6, 8, 10, 12, Silver Grand Prix (if possible)
Flat: (Bristle) 2” for smoothing out brushstrokes in background

Maroger
Maroger is a painting medium that consists of cold-pressed linseed oil, litharge, mastic crystals and turpentine. Maroger’s special attribute is that it acts like a liquid while painting and a solid when the brush stops. That is, it does not sag or drip. Though one should always use any medium with restraint, the only reason to use a medium is to alter the way paint out of the tube moves across the canvas so that the artist can achieve the paint surface desired. Also, because maroger contains lead (litharge), it speeds drying so that the artist can work over dry paint the next day. Contact: Old Masters Maroger, www. Oldmastersmaroger.com, info@oldmastersmaroger.com

Canvas Preparation (optional)
Prime Utreccht 74D Raw Linen with two coats of rabbit skin glue. To make the glue, dissolve one ounce of RSG (if you can get the sheet glue, it is better than the powder. If not, the powder only needs an hour to soak in 35 parts of water overnight. Then heat in a double boiler on low heat until completely dissolved and put in refrigerator overnight. It will gel. Before using, take out of refrigerator and warm it up for an hour or so. Wait for each coat to dry completely sanding the surface lightly in-between coats with #220 sandpaper. Then apply one coat of White Lead paint (AKA: Cremnitz White, Silver White, Flake White) thinned with Spirits of Gum Turpentine. Put it on with a spatula. The idea is to “fill in” the holes in the weave, not to lay on a heavy coat that would obliterate the weave. Let this coat dry thoroughly to the touch (usually 3-5 days).
Add a second coat (if too thick, thin by adding Maroger or another medium) and work the painting spatula knife until the surface is very smooth. You simply want to fill in the holes and create a smooth surface to paint on: no ridges.
With this surface, the brush strokes “stay on the surface” of the canvas, and less energy is wasted trying to overcome the pattern of the canvas weave.

February 19 - April 23, 2010
Instructor | Taylor Montague
Tuition | 10 sessions $350 with $60 model fee
Hours | 6 pm - 9:00 pm, Friday Nights

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Download syllabus (below)

Week One: Monochromatic (tonal) painting. The focus of this method is to establish accurate values as seen on an illuminated human form; using only a dark color (black or burnt umber) and white. Mixing a full value scale (shades 1-10), prior to painting, will be stressed to ensure an adequate range of values to work from. This method will demonstrate:

• How to prioritize value considerations
• The way light reacts to, or spills over, forms (and the proper terminology belonging to this phenomenon)
• How to create the illusion of three-dimensionality by way of chiaroscuro (use of light and shadow).

Homework: Tonal master copy of one of the Eugene Carrie` examples. Or, paint a self portrait using Monochromatic technique just painting the head, neck and shoulders. (Use a mirror not a photograph).

Week Two: Planar Construction (straight line construction). This method represents the figure using faceted planes of color based on a straight line construction. The objective is to understand the underlying structure and fundamental design of the human body and to articulate the tectonic formations of bodily postures while subordinating detail in favor of general proportion.

Homework: Master Copy one of the Uglow examples. Or, paint a self portrait with emphasized planes and color shifts.

Week Three: Color/Shape Composition. The approach here is to infix the figure in an environment where both (figure and background) are comprised of shapes of color which are intrinsic to one another. The main focus in this method is to create a compelling composition and a believable volumetric space in which the figure exists; using color and shape or, rather, color/shapes to punctuate and animate the portrayed space. Since this painting takes on a plethora of subject matter and visual information, it will be a two week project. (Continued in week four)

Homework: Begin your color/shape composition master copy (choose one example from the images provided in the lecture). This homework assignment will be a three week project. Week Four: Color/Shape Composition continued…

Week Five: Portrait Painting. This method will focus on the head and face of the figure in detail. It will cover the basic anatomical and proportional canons of the human head, how to construct individual features, as well as how to achieve a likeness. It will also include classical compositional strategies used in painting the portrait.

Homework: Self portrait from mirror or trade painting/modeling time with someone from class to complete a portrait from life.

Week Six: Palette Knife Painting. This method will introduce the use of the palette knife as a painting tool, in place of the brush. It will familiarize the student with the qualities and painterly effects unique to the use of the palette knife. Due to the nature of the knife, the focus in this technique, inevitably, requires the painter to address the major light, shadow, and color masses as well as the general planes of bodily forms; forcing the painter to achieve accuracy without delving into minute detail.

Homework: Self portrait using palette knife technique or trade painting/modeling time with someone from class (unless you can get your own model).

Week Seven: Reclined/Foreshortened Figure Pose. This method will focus on foreshortening the figure. The model will be horizontally positioned with extended limbs to ensure the foreshortening of, at least, some aspect of the figure at any point in the 360 degrees around its location. Focus on seeing the human body as a mechanistic apparatus will be greatly emphasized in this particular method in order to establish correctness of proportion even when viewing the model from abnormal and visually awkward angles.

Homework: Master copy of one of the foreshortened figure images in the lecture.

Week Eight, Nine and Ten: Long Pose. The final three weeks of this course will be an extended pose that will allow the student to execute a highly resolved, complex figure painting, using the methods covered thus far in the course. Principles from the Color/Shape Composition method will be emphatically reiterated, at this point, to encourage the figure/background relationship as well as the importance of a well planned composition and strategic use of color. The extended duration of this pose will allow for an explicitly indirect painting method: we will not only stack color on top of a tonal under painting, we will be able to glaze transparent layers of oil color over already nuanced passages of painted flesh in order to further augment chromatic shifts, also know as tinting.

Homework: Begin full figure (clothed) self portrait (background included). If you can hire a model to pose for you for five weeks instead, by all means, do it.

*Each week will include in-class demonstrations and visual references which underscore and elucidate the techniques at hand.

Supply List: Bring all paint colors, brushes, knives, palette, etc. to every class! Tip: Get a paint or, tackle, box to keep all paints and brushes in. Be as organized as possible and make good habits. 1. Paints (limited palette): Burnt Umber Burnt Sienna Yellow Ochre White (Titanium-Zinc, or Flake, or Cremnitz) Ivory Black Ultramarine Blue Cad Red Light Alizarin Crimson Cad Yellow Light, or Lemon Yellow It’s a simple palette—so, buy good quality (no student grade or water mixable paint). Additional colors: Cobalt Blue, Naples Yellow, Cad Red Medium, Olive Green. 2. OMS (Gamsol, or Turpenoid) 3. Linseed or Walnut Oil. 4. Cups or jars to contain medium and solvent. 5. Pallet—wood or glass. If using wood, make sure it is sealed with a shellac or varnish. 6. Rags or paper towels (plenty of them). 7. Drawing Pad—9x12in. (minimum) and pencils 8. Brushes—Flats and Filberts, assorted sizes. I prefer Signet Bristle—Filberts. 9. Pallet Knives: Che Son #’s 838 and 814. 10. Canvases and boards (each week will require specific sizes. I will notify you a week ahead of time as to which size to buy.) Prepare canvas or board with at least 2 coats of Liquitex or Golden Gesso at least one day before class, unless otherwise instructed. Specific instructions about painting materials and supports will be given all throughout the course. top

March 27, 2010
Instructor | Jorn Fox
Tuition | $75
Hours | 10 am - 4 pm, Saturday

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Learn an easy way to produce small but powerful paintings. Follow along with me as we paint “wet-into-wet” using rich primary colors. We will produce two 5x5 inch paintings: one of “Jorn’s Choice” and a second painting of your choice. Bring a photo of your subject matter to the workshop.

Materials: 2 - 5x5” box canvas, 1.5” thick
Oil Paints: Alizarin Crimson, Cadmium Yellow Medium, Pthalo Green, Titanium White, and Ultra Marine Blue
Brushes: Liner Brushes - sizes 0, 2 and 4; Sable Bright brushes - sizes 2 and 4 Medium: (M. Graham & Co.) Walnut Oil
Palette Knife, Roll of Paper Towels, and Small cup to hold medium

January 30 and February 6, 2010
Instructor | James Tanner
Tuition | 2 sessions $175
Hours | 9:30 am -4:30 pm, Saturdays
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You can learn all the essentials Adobe Photoshop tool, tricks, and techniques used by professional photographers, graphic designers, and digital artists everywhere, even if you already have a basic knowledge of Photoshop. Learn how to customize your work space for greater creativity and efficiency, Understand the various tools available and how to use them effectively as you create an advanced digital collage. This workshop takes you through tutorials that provide you with a firm understanding of the power of Photoshop.

10-week workshop, January 13 - March 17, 2010
Instructor | Jason Dowd, oil painting instructor at Laguna College of Art and Design
Tuition | 10 week workshop fee $350
Hours | 6:30 - 9:30 pm, Wednesday nights
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This class will analyze master copies and apply those techniques to the work done during this workshop. Students will paint from master copies to understand how artists organize and balance pictorial elements.

Students will achieve these skills:

• Recognize and analyze the linear movement of compositional structures
• Analyze and paint simple tonal designs;
• Analyze and paint simple to complex value relationships;
• Recognize and paint simple to complex hue and temperature changes
• By the end of the workshop, select imagery to create a compositional structure, tone design and presentation mode utilizing multiple values, simple color theory in hue and temperature.

Beverly Hicks, Instructor Two Individual Saturdays | November 7 and/or 21, 2009 Time | 9:30 am - 4:30 pm Tuition | 100 each or $178 both Materials fee $15/each Saturday

Prior art experience is not necessary to create these unique and beautiful art objects and gifts. Explore new skills and meet others interested in expressing their love of art. The focus of these classes will be personal growth through positive exploration in supportive media workshops. With the holidays upon us you can explore new skills and meet others itnerested in expressing their love of art.

Marbleizing | November 7
Marbleizing on watercolor papers, colored papers, gold trimmed note cards and fabrics. We will be using tanks that measure 15" x 21" to produce wonderful one of a kind paintings in this workshop. Come share the magic of this ancient art technique with us. Participants wil go home with serveral paintings and original works of art on paper and note cards. A silk scarf will also be painted in this class . If you are an artist, quilting person or sewing your own garments this class will interest you. We will be painting serveral types of fabric as well in this six hour workshop with a thirty minute break for lunch. Please wear old clothes. Sign up early as we have limited spaces.

Velvet Devore’ Burnout | November 21
We will be using silk velvet with silk screens and stencils to remove the pile on the velvet to produce unique designs. participants will be using chemicals to produce several scarves, a large velvet panel and several pillow fronts in this class. These items make wonderful additions to clothing, quilt squares and can be framed for interior decor. We will be using acid dyes to paint the velvets after the desig has been completed. All work will be taken home by the instructor to be steamed in a vertical steamer which will make the fabrics permanent. We will be making several items, that make excellent gifts for the holiday season in this six hour workshop with a thirty minute break for lunch. Please wear old clothes. Sign up early as we have limited spaces.

Jason Dowd, Instructor Tuition $245 Three Saturdays October 3, 10, 17, 2009 10 am - 4:00 pm Download printable pdf

Color Theory I: In this workshop, students learned the mixing of oil colors, how to create a unified harmony of colors and general principles associated with color theory. Exploration of color combinations - Creating a "mood", emotion, and depth. Color Theory II: This workshop applied a more in depth exploration of the color systems based on master painters and their palettes, theories of light (color and value), and project based color interpretations. Note: Color Theory I or basic knowledge of color recommended for this workshop.

Taylor Montague, Instructor Tuition $225 Three Saturdays New Date Change July 25, August 1 and 8, 2009 11 am - 4:00 pm Download printable pdf

This three day workshop will strengthen students skills on the techniques of building paintings with character. Taylor will share his techniques of how to create brilliance with a limited palette, harness light and create focus, build depth in your paintings through strong forms.

2-week workshop, February 21 and 28, 2009 Instructor | Taylor Montague Tuition | 2 sessions $175 Hours | 11 am - 4:00 pm, Saturdays Download printable pdf

Taylor Montague will lead this two day workshop on palette knife painting fundamentals and practical uses to create rich, expressive, and luscious oil paintings. Learn how to paint complex and sophisticated paintings with an eye-catching flare of excitement and confidence with a few simple tools.

David A. Leffel, Instructor | Tuition $995 Four Days| Tuesday through Friday October 28-31, 2008 | 9:30 am - 4:00 pm Download printable pdf

Spend four days with a “20th Century Old Master” painter and understand the how and why of painting. Students will learn David Leffel’s revolutionary approach on how to use value, color, edges, and paint to construct a painting. David will share his insights from his highly acclaimed 35-year career as a painter and instructor. This workshop is a special engagement by a nationally known artist and limited to 20 students. A materials list will be sent to all registrants.

Ruth Hollis, Instructor | Tuition $190 Two Wednesdays | 10am - 4pm April 2 and 8, 2008 | II: June 4 and 11, 2008 |

The portrait painting with Ruth Hollis is an unique workshop in that each student will be given a toned canvas with the subject already drawn on. This is perfect for students who want to learn how to paint a portrait without having to spend time getting the drawing right. This workshop will be offsite in Laguna Beach. The format will be a step-by-step paint along. Limited to 8 students, lunch included.

Jason Dowd, Instructor | Tuition $300 Four Saturdays | April 19, 26, May 3 and 10, 2008 9 am - 1 pm

In this workshop students will work from a photo that they bring to the first session. It is recommended that you bring a variety of photos or get prior approval of your selected photo by emailing it the The Art Studio. This is a personal workshop where you can develop a beautiful portrait of your favorite baby or child. We are keeping it small so you will get a lot of attention. Materials list will be forwarded to you.

Jason Dowd, Instructor | Tuition $50 Saturday, March 1st | 10am - 1pm

How do you get your work out there? Do you have work just sitting there and can’t sell it? This is a struggle even for the best of us. Are there tips, tricks or is it all about who you know? Jason Dowd, who is represented in four galleries nationwide, will be discussing the basics of assessing and presenting your work to potential clients and galleries. Having a clear idea of who you are as an artist and what your work may bring to the art world is crucial to being a prosperous artist. You will learn important questions to ask, how to research pertinent information about the field, and discover how to create a practical plan for yourself on becoming a successful professional artist. Highly recommended for artists at all levels and ages.

Taylor Montague, Instructor | Tuition $300 Four Saturdays | October 13 - November 3, 2007 | 10am - 4pm

• Students will be introduced to an easy to follow, step-by-step painting approach on how to compose and execute a dynamic portrait.
• Demonstrations will be given by the instructor at every stage of the painting and a steady pace will be maintained throughout the workshop.
• This workshop will provide, at least, the fundamental methods and principles necessary to develop a well composed and confident painting.
• Many different examples of master works will be provided to help elucidate the strategies being taught; these provide many clues on how to compose the painting.

Jason Dowd, Instructor | Tuition $325 Four Saturdays | September 8 - 29, 2007 | 10am - 4pm

In this four day workshop, students will learn to "render" a variety of surfaces and textures in oil paint. Reflective surfaces on metal, glass and drapery are just a few examples that will be covered by fine artist Jason Dowd. A straightforward approach to solving these problems will be offered through "paint along" demonstrations and examples of the artist's finished works.

• One-on-one discussions with feedback from instructor
  
• Discussions targeting specific student requests
• Step by step paint-alongs where notetaking is encouraged

Jason Dowd, Instructor | Cost: $395 Four Saturdays | June 9, 16, 30 and July 7, 2007 | 9:30am - 2:30pm

Capture the beauty of places you see through critical analysis of paint, light, color and brush stroke. Students learned how to begin a painting with simple shapes and values, building the foundation for the finished work.

• On-site problem solving of capturing light on landscapes and cityscapes
• Drawing, basic perspective
• A focus on light and color will be emphasized to "stage" subject
• A strong emphasis on design and composition
• Designed to help the student look for keys in the landscape that elevates the work beyond the ordinary
• Instructor demonstrations
• Individual critiques

Taylor Montague, Instructor | Cost: $375 Four Saturdays | March 24 - April 14, 2007 | 10am - 4 pm

Students in this workshop, Portrait Painting from Photos, learned a traditional style of painting the portrait in oil by using photo references as a model. They were shown how to set up their subject for photography so that each student could work from their own photographs. Students learned to interpret form, light and color from the 2-dimensional photographic image and paint a 3-dimensional appearance, without becoming a slave to the photo. The workshop taught fundamental principles that allowed all levels of painters to paint a portrait successfully.