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THE WINNERS Of Our Over 60 Contest
On Your Toes:
Drawing Feet
A New
Of a Commission
Portrait Painter
Sharon Sprung Brings Life To Work For Hire
Alla Prima
At The Art Students League
Big Bold & Blue
Timothy Mulligan’s
California Landscapes
MARCH 2017
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MARCH 2017
The Artist’s Life
Drawing Board
Brushing Up
Ask the Experts
Road Test
Competition Spotlight
Stories Without Words
Infusing life into work for hire, Sharon Sprung takes the
commissioned portrait to heart. BY MAUREEN BLOOMFIELD
Bold Strokes, Bright Colors
Timothy Mulligan paints the landscape of his native California
with the colors of the sea. BY JUDITH FAIRLY
The Alchemy That Is Painting
At the Art Students League, Dan Thompson conducts a class
in alla prima. BY LOUISE B. HAFESH
Winners Of Our Over 60 Contest
Hidden Art From Cuba
Sharon Sprung’s Portraits
Alla Prima At The Art Students League
Movie Posters Are Back
Timothy Mulligan’s Landscapes
How to Survive After Art School
Life Drawing Methods
Drawing Feet
A New Watercolor Paper
M (oil on panel, 22x22)
by Sharon Sprung
Over (60) Achievers
It’s never too late to pick up a brush.
Rusty Still Water (acrylic on
canvas, 20x24) by Timothy Mulligan
Subscriptions/renewals: artists
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Patterns (oil
on panel,
by Sharon
supposed to be at odds, but
even purists acknowledge that
the tradition of patronage—
worldly popes, vainglorious
kings and forward-thinking
collectors—has allowed artists the freedom to dream
dreams and take risks.
Lacking a patron,
painters today often
teach workshops and
court commissions.
Historically, critics and
commentators have
neglected that latter
aspect of a career—an
imbalance we correct
in “Stories Without
Words,” page 32, on the
portraits of Sharon Sprung.
A commission, in Sprung’s
hands, transcends the contract, becoming less of a commodity and more of a gift.
Painting or drawing a
portrait, in essence, is a matter of seeing, and Juliette
Aristides explains the differences between the two principal ways of assessing form
in Ask the Experts, page 22;
Stephen Cefalo delineates the
bones of the feet (Drawing
Board, page 10), and Dan
Thompson of the Art Students
League offers a lesson in alla
prima (“The Alchemy That Is
Painting,” page 48).
And last but far from least,
we celebrate the 10 winners
and 13 finalists of our Over
60 Competition. Choosing
23 works from 2,318 entries
was grievously difficult! See
the fabulous work of these
talented artists starting on
page 56.
Maureen Bloomfield
In the January/February issue,
two names were mistakenly
omitted from the list of finalists for The Artist’s Magazine’s
Annual Art Competition: Jane
Marie Manco and Gail Postal.
We congratulate these fine
artists and apologize for our
error. ■
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5 NEW colors matched across Acrylic Ink, Soft Body & Heavy Body
At Liquitex, we don’t take no for an answer. After all,
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Hooks, spoke to us about
what artists can do to get
noticed. Having been in business for nearly 50 years,
Hooks knows the top tips for
artists looking for representation. Her advice boils down
to a few essentials: Be prepared: Visit a few select galleries in person (don’t gallery
hop!) to identify whether the
owner’s aesthetic is a good
match to your own, and make
an appointment to speak with
the owner in person (bring
your portfolio). Hooks-Epstein
places a particular emphasis
on works on paper and also
specializes in fine art glass.
don’t miss the biggest exhibition of
Cuban art in the
United States in
70 years. “Adiós
Utopia: Dreams
and Deceptions in
Cuban Art Since
1950” will be at
the Museum of
Fine Arts, Houston,
March 5–May 21.
LEFT: Rosas
Estrellas (Roses
and Stars) (oil on
canvas) by Raúl
MARCH 2017
The Artist’s Life
Edited by McKenzie Graham
FAR LEFT: poster
art for
24x36, directed by
Matt Ryan Tobin, who
collaborated with Sara
Deck, Paul Ainsworth,
Joshua Budich and
Gary Pullin
Graduate by Rory Kurtz
Matthew Woodson
Frozen by Tom
Movie Poster Resurgence
Two new documentaries shine a light on the nearly extinct
fine art practice of making movie posters.
AN ERA where fine art
employment is hard to
come by. Advertising agencies used to hire freelance
artists in droves and print
illustration provided artists with a reliable income.
We may have counted
movie posters among the
fallen, but two new documentaries, Original Copy
and 24x36, profile the
art form and its possible
big-time resurgence, starting with small, ingenious
companies like Mondo (see
posters for The Graduate,
Frozen and Drive, above),
employing artists to create original and beautiful
screen-printed posters for
classic and contemporary
films, TV shows and comics. The documentary
Original Copy profiles a
Mumbai artist, “the last
screenpainter,” who paints
huge scenes on banners
to advertise B-list movies
playing in a local theater,
the “Alfred Talkies,” only to
cover them up with a new
scene as new movies are
shown. It’s a life inherited
from his father, and we see,
along the way, the catharsis provided by film to the
city’s beleaguered masses.
Another film, 24x36, is a
more detailed look at the
history and production, as
well as the giants, of movie
poster production and how
a grassroots campaign is
bringing the art back into
the spotlight.
Find more information at and
“If you see beauty everywhere in everything your
soul is set free.” Nikolai Serov in Local Color
An artist finds solace and
inspiration in cherished relics.
By Louise B. Hafesh
Whenever I begin a new
painting, I clean shop.
Sweeping away traces of
my last oeuvre by cleaning
my palette, brushes, tools
and workspace is tantamount to the promise of
a fresh start. T.S. Elliot
said, “ ... to make an end
is to make a beginning.”
OF A VISION: I especially
enjoy taking simple
objects and giving them
human qualities, creating
a story line that people
can respond to emotionally, visually, intellectually and/or spiritually.
Sometimes a concept
springs to life—such
serendipity is a blessing. More often, though,
themes and compositions
need to be coaxed into
fruition. That’s when I
look to my trusty treasure
trove of props, music,
favorite writers and artists
for inspiration.
I scour my stash for subjects that speak to me.
My goal is beautiful imagery and incisive compositions that will entice, provoke, inspire. Arranging
the objects to utilize
luminous north light in a
way that will draw in the
viewer, I choose what best
describes my inner vision,
take photos of perishables
for reference and, finally,
engage the canvas.
I begin with a sketchy
drawing of ivory black and
cadmium red. Massing
in large dark shapes and
wiping out the lights, I
address color once the first
layer is dry. As the work
progresses, I may modify
elements to maintain the
painting’s integrity, like
heightening the vase and
adding the flag and pin.
Eventually, I’ll glaze and
push back the leaves and
strengthen the light flow
across the box from right
toward the left. ■
joined the ranks of fellow artists persistently
praising the portable
easel EdgeProGear
PaintBook. It’s easy
to set up (I’m using
my own tripod) with a
sleek, gray-toned glass
palette and practical
magnetic accessories.
ABOVE: Work in progress, Heart of My Heart
(oil on linen, 16x16), is
an homage to my U.S.
WWII Army Air Forces
father and Royal Air
Force mum.
MARCH 2017
MARCH 2017
Drawing Board
By Stephen Cefalo
Drawing Feet Will Keep
You on Your Toes
With these anatomy lessons and simple tips, the solution to
the feat of drawing feet is afoot.
observing the alignment of the feet in
relation to the center of the body. he
next hurdle is actually drawing feet
that look structurally sound and functional. Legs of iron can’t stand on feet
of clay. Feet are the foundation of our
figures but, as they can be such a nuisance to draw, it’s tempting to throw
something wedge-shaped below the
ankles as a stand-in just so we can
move on to the rest of the figure;
however, with just a few key concepts,
the burden can be lightened.
In the last Drawing Board, we
discussed drawing hands; naturally,
there will be similarities between the
two methods. For bipedal creatures,
however, the functions and designs of
the hands and feet are quite different
from those of their four-footed counterparts. he feet must balance and
bear all the weight of our bodies, while
our hands have developed opposable
thumbs for grasping and more intellectually stimulating activities, such as
drawing feet and turning the pages of
your favorite magazine. It’s no wonder
that relative intelligence goes hand-inhand with walking upright.
ABOVE: Controlled
Burn (oil on canvas,
20x16) by Stephen
thing about drawing figures is to make them look as if
they’re actually standing.” he key, first of all, is to get
the distribution of weight correct by paying very close
attention to the angles and distances, as well as carefully
It’s astonishing how similar the skeletons of all vertebrate creatures truly
are. Nearly all vertebrates have three
basic movable parts: toes, metatarsals
(counterpart to the metacarpals of the
hand), tarsals (counterpart to the carpals of the hand) and the calcaneus
(the heel bone). See illustrations of
feet bones in Image 3 on page 14.
When drawing an animal’s feet,
it’s not difficult to see the similarities among the toes of birds, reptiles,
Drawing Board
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amphibians and mammals. he fingernails of humans appear as claws
and hooves on quadrupeds. he real
difference seems to be in the development of the calcaneus (see Image 1,
above). As a kid, I was told that dogs
and birds had knees that bend backwards, but this is not at all the case.
If you look more closely at an animal
skeleton, you’ll see that horses, dogs,
cats and even birds have knees like
ours, although their femur (thigh
bone) may be so short that we overlook
them. he joint that we mistake for a
“backwards knee” is in actuality the
calcaneus which appears in humans
as the heel. Very few vertebrates
walk with the calcaneus flat to the
ground as we do. Some of the exceptions include bipeds like kangaroos,
penguins and primates, as well as the
occasional quadruped like bears and
elephants. Conversely, not all bipeds
use the calcaneus to keep them from
falling backwards as we do. Most
birds have their hallux (big toe) positioned behind them to perform the
same function, while their calcaneus
remains off the ground. Bipedal dinosaurs, such as the T. rex, also evinced
this design.
It helps to think of the tarsals, metatarsals and toes as one unit and the calcaneus as a unit in itself. he calcaneus
is more prominent on some. It isn’t,
however, to be overlooked; without
Drawing Board
evoking a strong visual impression,
your subject will look unstable, as
though he might fall backwards.
Let the calcaneus protrude a little to
remind your viewer it’s back there (see
Image 2, part A, at right). he tarsal
group and the calcaneus are hinged on
the malleolus (ankle) joints, creating a
spring-loaded, shock-absorbing arch.
he degree of the arch varies among
people, as do other foot characteristics. For placement reference, the apex
of the arch is very close to the place
where the foot hinges on the ankle (see
Image 2, part B, at right). his apex
is at the largest tarsal bone, known
as the “navicular,” named for the way
that it curves like the bottom of a boat.
he lateral or outward-facing side of
the foot tends to rest on the ground,
while the medial side or inside of the
foot is raised by this arch. As you may
have noticed from your footprints, the
foot, when viewed from the bottom,
has an overall paisley shape, curving
inward, or medially, toward the center
of the body (see Image 3, at right, and
Controlled Burn, page 10).
Quite unlike the thumb, the first
digit, or the big toe, of the foot is in
line with the other digits. On most
people, it can flex independently of
the other toes but is denied the lateral
flexibility of the thumb. Other primates do have an opposable big toe
for gripping, making it appear that
they walk on another pair of hands!
he longest toe varies from person
to person. he second toe runs along
the centerline of the foot and was classically represented as being the longest. Egyptians, however, represented
the five toes in a steady taper of length,
and some theories suggest that one’s
ancestral origins can be traced through
the pattern of the toes.
Built into the toes, as in the fingers, is a subtle S-shaped grip. While
the second through fifth toes point
downward toward the ground, the big
toe points straight out to the front and
even slightly upward (see Image 2, part
C, at top). Drawing feet may always
keep you on your toes, but a few of
these tips can start you off on the right
... well, in the right direction. ■
STEPHEN CEFALO lives and works in North
Carolina. See more at
Brushing Up
By Myrna Wacknov
Self-Portraits in the
Digital Age
Find creative approaches for self-portraits with digital
devices and applications.
endless variations of poses and lighting. You can play with distortion,
expression and interpretation without
worrying about the sensibilities of the
model. Some artists are interested
in expressing a political viewpoint
(Robert Arneson); others are focused
on self-revelation (Frida Kahlo); others want to work out new ideas and
techniques using a familiar image
(Chuck Close).
Every artist should create at least
one self-portrait. Approaching the
traditional self-portrait with inspiration provided by digital devices and
photo-manipulating applications can
spark imaginative variations on this
classic theme.
ABOVE: Self-portrait
A is watercolor over
collage. Painting
B is watercolor on
Yupo, which allowed
me to lift paint and
explore textures.
Both are 15x22.
ists; snapping a digital “selfie” is a favorite pastime of
the younger generation. While the selfie is all about
superficial appearance, a self-portrait is useful to an
artist for many other reasons. he subject of a selfportrait is always available to you so, at any time, you
can practice drawing and painting the head with
Start by snapping a selfie. If you have
a Mac computer, you can use the
Photo Booth application (standard
on Macs for several years). It uses the
computer’s built-in camera and has
a delay function so you can get into
various poses. Some PC computers
have built-in cameras; for those that
don’t, you can purchase add-ons. I
prefer using the amazing camera built
into my smart phone (an iPhone 6
Plus) because of its portability and
flexibility. It allows me to change
the lighting and the camera angle.
When the ear buds are plugged in,
the volume control on the wire acts as
a shutter release, making it easier to
record the shot. A tablet like the iPad
enables me to shoot selfies at additional interesting angles. You can also
use Android devices and, of course, a
stand-alone digital camera.
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every Richeson Gessoed Panel with
care so that you can be confident that your
artwork will last and that you command the
price your artwork deserves.
Call 1.800.233.2404 for your nearest
Richeson Art Materials dealer.
Brushing Up
variations that you want to keep.
hen make alterations to any of these
images by importing a copy into your
app. his way, you won’t lose your
starting image.
In the iOS platform, some apps
automatically save your images to
here are many apps for manipulating “camera roll”; others save images in
the app itself. In the case of the latter,
photos. Most are designed to work
with an iPhone operating system (iOS make sure you also save to the camera
system), which is the mobile operating roll. An image brought into an app
from the camera roll is a duplicate;
system that runs on Apple’s iPhones
the original remains in the camera
and iPads. Some apps work with the
roll untouched. hat means you can
Android platform, and a few work
make alterations to your heart’s conwith both. All the iOS apps work in
tent without worrying about losing
a similar way, so figuring out how to
the original image.
use various apps becomes intuitive—
no manual needed. No matter what
platform you use, experimentation is
the best way to learn.
Once I’ve selected an image I want
To keep your experiments
to work with, I like to eliminate disstress free, store all photos and the
tracting details in the background.
he app I use for this is called
“Touch-Retouch.” Using the cloning tool, I fi nd a neutral area in the
background and duplicate it, replacREDUCED CLUTTER: Image 1a is my
ing the unwanted details (see images
original selfie. Image 1b shows a variation, with the background simplified
1a and 1b, below left).
Digital devices provide instant
feedback with no waste or cost constraints, so click and delete with
abandon! Try different lighting
situations and poses.
LINE DRAWING: I created this line drawing of my image with the drawing tool
found in the painting app Procreate.
photo. You’ll now see just the lines
you’ve created on a white background.
If the image is complete, save it to your
camera roll. If you missed some areas,
reselect the photo layer, activate the
line-drawing layer and complete the
drawing. hen deselect the photo layer
and save the line drawing only.
by means of the Touch-Retouch app.
You may want to experiment with
different compositions by using the
cropping tool. If you’re using the editing feature in your camera, remember
to create and save a duplicate of the
original image first. hen crop the
duplicate. You may want to crop your
image several different ways.
I like to have a “coloring book” line
image of my subject because it allows
me to see the shapes and major lines
without the distractions of value and
color (image 2, above right). Any
painting program, such as Procreate,
will do this. Import your image into
the app and then add a new “layer.”
Choose a drawing tool from the app
and adjust the size of the mark to a
fine line. hen, using your finger or,
preferably, a stylus, draw around the
shapes and lines to create your drawing. You can zoom in and move the
image as needed. Tap the “layers” icon
and deselect the layer with the original
Value is an important element of
design. he app ValueViewer will
easily break down your selfie into
a Nōtan (Japanese for “light/dark,”
referring here to a black-and-white
image with no gray values; see image
3a, opposite) or three-value image (see
image 3b, opposite). By shifting the
mid-value lighter or darker, you can
change the light/dark pattern. Save as
many variations as appeal to you.
Now it’s time to play with color and
texture! he most comprehensive app I
know is iColorama. It will also let you
change your image’s shape, size and
direction. I’m constantly finding new
ways to work with this app. Import
your photo and then try different filters. You can make separate changes to
the original image or add changes to
an altered image. To continue changing an already-altered image, tap the
“apply” icon, which makes the changed
image the new default.
ValueViewer, I can adjust my selfie
from stark black and white (3a) to a
range of three-value images, such as
the one in image 3b.
Every time you press the “apply”
icon, the change will be stored under
the “steps” icon for as long as you keep
the session going. Tapping the “save”
icon places it into your camera roll. If
you only apply the changes but don’t
save them, all the altered images you
created will disappear when you exit
the program. his process may seem
confusing, but fearlessly experimenting, pushing buttons to see what
happens, will lead to many “aha!”
moments. Although iColorama is a
complex program, it’s simple to use.
Here are two tips: (1) Adjusting
the opacity slider lets you integrate a
filter into your image with more or less
subtlety. (2) With so many ways to
alter a photo, you might want to write
down the location of the filters you like
so you can find them again quickly.
MARCH 2017
MARCH 2017
Brushing Up
Numerous photo-manipulating
apps are available. Most of them
are inexpensive. All of them have
similar operating modes, which can
be learned by trial and error. It’s fun
to bring a saved altered image from
one app into a different app and then
change it even more. You can see a
few of my experiments in images 4a
through 4d (above).
Whether you use photomanipulating apps extensively or
sparingly, I recommend that when
you paint your self-portrait, you
treat the digital images as inspiration rather than slavishly copying the
changes. Digital devices can help
spark ideas, but applying those ideas
creatively is up to you. ■
MYRNA WACKNOV, a signature member
of the American Watercolor Society, the
National Watercolor Society and the
California Watercolor Association, teaches
workshops in watercolor portraiture and in
self-portraiture in the digital age. Visit her
website at
FILTERS: Here you can see a few of
the myriad looks you can achieve
from various iColorama filters applied
to one original selfie. For image 4a
I applied high-value contrasts and
played with skin and hair colors. For
Image 4b I backed off the contrast a
bit and applied more natural colors.
Image 4c is a duotone with a gritty
look and interesting lighting/highlighting effects. Image 4d adds geometrical line patterns to the background
shapes and left side of the face.
April 20-23, 2017
Call for Entries
The Portrait Society of America invites artists from all
over the world to enter the 19th annual International
Portrait Competition. Our goal is to create an
exhibition, in conjunction with our annual conference,
of the finest portrait and figurative work being
created today. Mark your calendar for March 2, 2017,
the online entry deadline.
2016 William Draper Grand Prize Winner
Michael Klein, NYC Entrepreneur, 38x28”, Oil on panel
The selected finalists are required to exhibit their original
artwork and be present at the prestigious The Art of the
Portrait® conference in Atlanta, Georgia, April 20-23, 2017
for awards presentation.
Awards & Categories
Over $94,000 in prizes and awards will be presented in
categories recognizing Painting, Drawing and Sculpture. Visit
our website for full details or call toll-free for your prospectus.
2016 First Place Sculpture
Alicia Ponzio
Portrait Study I: Mr. Koch,
20x10x10”, Plaster on wooden base
To enter, register or for membership information:
Call toll-free:
1 - 8 7 7 - 7 7 2 - 4 3 2 1 • i n f o @ p o r t r a i t s o c i e t y. o r g • w w w . p o r t r a i t s o c i e t y. o r g
Ask the Experts
By Juliette Aristides
Two Methods for
Accurate Drawing
Learn the what, how and why behind two time-honored
methods of drawing: sight-size and comparative.
What is the sight-size method
of drawing?
Simply put, the sight-size method is the practice
of painting or drawing at the same scale your eye
sees your subject; when you look at your subject and
drawing, they should be identical in size. Often artists practice the sight-size method by placing their
surface directly next to the subject and drawing the
subject life size—although sight-size drawings need
not be life size. If the artist positions the easel between
him- or herself and the subject, the depiction of the
subject will be correspondingly smaller on the drawing
ABOVE: These students at the Charles
H. Cecil Studios in Florence, Italy, are
using the sight-size method of drawing.
The cast and the paper surface are
placed next to one another in fixed
positions and, in this case, the drawing
and cast are the same size both
physically and visually. The students
stand back to look, flicking their eyes
from cast to drawing in order to find
errors, and then walk up to the paper
to draw or make corrections. The trick
is not to look at the cast while standing
close to the drawing, which would
change the viewing angle.
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Ask the Experts
or painting surface. Famous artists
throughout history, including such
virtuosos as the Scottish painter
Henry Raeburn and the American
painter John Singer Sargent, used the
sight-size method.
Let’s examine a typical sight-size
configuration—that of placing your
easel next to your subject. Ideally,
you want the same light illuminating your subject and surface. Your
surface should be as vertically upright
on your easel as possible, forming
a flat plane that sits alongside your
subject. Next, determine your standing or viewing position—about three
times as far away from your subject
as the subject is high. For example, if
you’re drawing a 12-inch plaster cast,
you could stand back about three
feet—but this isn’t a hard-and-fast
rule. Basically, you want to be able to
see your entire subject and drawing at
the same time without turning your
head. You would mark the placement
of your feet with tape. In fact, it’s
also important to mark the positions
of your subject and easel so you can
configure everything exactly the same
way during each drawing or painting
session. Better yet, leave the whole
setup untouched until you’ve finished
your picture.
Using this configuration, you
stand back to view your subject and
walk to your surface to draw or paint.
Use a plumb line (holding it horizontally) to plot the placement of the
top and bottom of your drawing in
relation to the subject, and lock in the
overall measurements and placement
of the subject. You then go on to
find other measurements and angles
directly from the subject. Sight-size
is a strictly observational method,
and it progresses by fl icking your eye
between your subject and the drawing. If you’ve ever hunted for the
differences between two side-by-side
images, you understand the process
of correction that occurs as you scan
quickly between your subject and
your drawing to see what is not alike.
he method can seem a little cumbersome the first time you try it but, over
time, it becomes natural.
What is the comparative method
of drawing?
Comparative drawings can be
any size, regardless of how far
your surface is from the subject. Your
subject could be a milk jug, and you
could draw it the size of a person, or
it could be a full figure drawn to the
size of your hand. In either case, a
comparative drawing isn’t dependent
on a one-to-one scale between your
drawing and your subject, as seen by
your eye. In other words, the measurements aren’t cited directly from
the subject onto the paper; rather, the
drawing recreates a believable set of
This student is using the
comparative method for her painting. The
model is set back from the easel, and the
artist simply turns her head to look from
the canvas to the model. The artist is painting the subject considerably smaller than
the model appears to her eye.
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Ask the Experts
relationships that mirror the subject.
You create your drawing by a set of
comparisons, such as units of measurement generated from within the
subject. For example, if your seated
model measures three heads high, the
proportion in your drawing would be
the same. Or, if using a plumb line,
the side of the head is directly over
the inside of the ankle, your drawing
would have the same alignment.
his method of drawing is sometimes called “working from the inside
out” because contour is often found
later in the process. he artist tries to
convey the essential aspects of the pose.
Finding movement through a strong
design is as important in this drawing
style as fidelity to nature. Structural
drawing is concerned with the
internal building blocks of a subject:
landmarks created by bone structure,
other anatomical considations, large
volumes and aspects of design, such as
directional lines.
In this approach, the artist generally stands or sits directly behind the
easel, which is at a slight angle to the
subject. his allows the artist to turn
his or her head, looking from paper to
subject, which can be moved at will;
since the artist is focusing on design,
gesture and volume, small shifts in the
contour of the pose will not necessarily
undermine anything essential.
When drawing comparatively,
you want to be thoughtful about the
accurate placement of your lines.
Straight rods or skewers are common
tools for siting and double-checking
angles and measurements. A plumb
line is good for checking the alignment of the top and bottom parts of
the drawing.
A certain understanding of anatomy often comes into play, allowing
artists to inform what they see with
what they know. A knowledge of
bone structure helps the artist locate
skeletal landmarks. A knowledge
of musculature can help the artist
choose what to emphasize or downplay to convey the dynamic of a pose.
Most figures or faces are soft and
ill-defined so, without some grasp of
anatomy, understanding what you’re
looking at can be difficult.
hink of comparative drawing as
a recipe containing many ingredients,
from playful directional lines and
gesture to anatomy and measured
proportions. Artists generally look for
gesture to find the attitude of the pose
in its essence. hey’re less concerned
with contour, as opposed to structural
lines that are used to create a sense of
verisimilitude. here is a reconstruction of reality rather than a one-to-one
relationship with the subject.
What are the respective
advantages and disadvantages
of the sight-size and the comparative
methods of drawing?
here are advantages to both
methods of drawing, as well
as points of overlap. he sight-size
method is more of a transcription
while the comparative method is
a translation. Each method has its
unique identifying stylistic markers,
yet both often start with some sort of
block-in to generally place the subject
on the page.
Sight-size has a wonderful naturalism. he resulting images can be
painterly with an emphasis on large
planes of light and broad shapes of
value. A flow of light conveying an
uncanny realism and a focus on the
big effect indicate that the artist saw
the subject wholly and from a distance.
he disadvantage of this method is
that the artist is locked tightly into
a fi xed position and is completely
dependent on a direct transcription of
nature with no intentional distortion,
emphasis or interpretation.
Comparative drawing can have
energy—a structural, planar quality that’s three-dimensional in its
construction. Form drawing is
often based nearly as much on an
This charcoal drawing created by
Eric Zhang at the Florence Academy of Art
(Jersey City, N.J., location) shows the oneto-one scale of sight-size drawing. The artist recreated the effect of nature by capturing the flow of light and shadow. By quickly
moving your eyes between the cast and
the drawing, you can compare the two and
determine the accuracy of the drawing.
intellectual understanding of the
subject as it is on direct observation
from life, making it a unique record
of an artist’s opinion. he artist must
have a sophisticated understanding of
the mechanics of drawing to achieve
naturalism; otherwise, proportions
can easily become distorted and the
style contrived. he artist must also
remember to stand back and take in
the big effect, rather than locking
into small areas of focus, resulting
in a piecemeal approach. Keeping
specific areas related to the drawing
as a whole is important.
Both drawing approaches have
their practitioners, and each approach
has been used to create outstanding
drawings. ■
teaches the Aristides Atelier program at
Gage Academy of Art in
Seattle and is the author
of Lessons in Classical
Painting: Essential
Techniques from Inside
the Atelier (WatsonGuptill 2016), available at
MARCH 2017
MARCH 2017
By Michael Woodson
Preparing For the Future
Artist and professor David Knight talks to us about the best practices
for art students today for a more successful career tomorrow.
An onlooker
stands in front of
Katie Nacu’s “Who
Am I” at “Surge:
BFA Visual Communication Design
Senior Exhibitions.”
DAVID KNIGHT: My title is Director of Exhibitions
Collections at the School of the Arts at Northern
Kentucky University. I’m responsible for setting
the yearly exhibition schedule and maintaining the
university art collection. On average we have 12–15
exhibitions yearly. hey include national and regional
artists and student- and faculty-based exhibitions.
they want to pursue after graduation.
hose students, most of the time, have
a plan; they’re aware of the steps that
are needed to get there. Students
pursue graduate school to become
better artists or to teach. Many go
into the work force.
ALL ELSE? To work very hard and take
say the really dedicated students have a good idea what
on any volunteering or internships
of studio-based things within their
design work. here are also fully
immersive trends—sound and audio
incorporated into work.
that they can get. Networking is so
very important to success in the arts.
We do our best to provide students
with those opportunities. We bring in
artists from the outside to talk about
students’ work. he staff gives TEDstyle talks (inspirational—modeled
after the famous conference) about
our own work and what we’re doing
and what’s current in our careers.
We also have a shadow program, in
which students apprentice with a
professional artist or faculty member.
I think students have to be better
prepared when they come to college.
hey need to have drive and a vision
to be successful. hey need to know
many more skills in electronic media
than even students from 10 years
ago. Knowing most creative software
is critically important to being
successful in the visual arts.
I’ve worked with many professional
artists that don’t follow through or
don’t do things on time. I try to tell
my students that deadlines are very
important. Gallery owners will respect
you if you meet the deadlines. For
the design students, it’s important
to consider presentation. It’s really
important in the business today that
everything looks professional. If you’re
doing something unique—if you’re
making custom wood pieces—are your
corners nice, and is everything crisp
and neat? What does the space look
like? Is it set up well? Did you show up
on time to dismantle your work? If you
follow this protocol, you’ll be right on
track. If you do all these professional
things you need to do, then you can
focus on your own work.
of the pieces in our senior show are
done completely by hand. Even the
design is hands on—students will
do a screen print and that’s what
their poster will be; they’ll do a lot
“I think students
have to be
better prepared
when they come
to college. They
need to have
drive and a
vision to be
Absolutely. hey grew up in the
digital age. As a university, that fact
has challenged
us, because we
LEFT: Senior
Brittany McIntosh
try to provide
and her installation
most of what
“Night Watch” at
students need,
“Surge: BFA Visual
Design Senior
We all know
the minute
you buy a computer, it seems as
though there’s a new version a week
later, but we do our best to provide
art students with those resources.
Technology in some form is almost
always integrated into students’ work.
We had a full sculptural installation
that incorporated video projections
of images and shadows; we have local
artist Alice Pixley Young teaching
a class for us to help integrate twodimension, three-dimension and
video into work, and that class fi lled
up immediately. Our student artists
also work with music students to
integrate music and sound into their
work. It’s an on-going element:
Media are utilized somewhere,
somehow in the process, even if it’s
just using the computer to create
stencils to put on the wall.
THEY START? I encourage students to
enter any exhibition they can and try
for gallery shows as soon as they enter
our program. hey’ll be juried or
judged on their artwork their whole
creative career. he sooner they get
started, the sooner they can learn to
accept the success or rejections from
students are the typical college-aged
MARCH 2017
MARCH 2017
students, but fairly regularly I’ll have
some nontraditional students who
have come back to school after raising
a family or changing a career, or who
just waited to go to college.
Being in the arts is very competitive.
Always work hard and you’ll be
successful. I was once told in order
to be successful you may have to do
things that are out of your comfort
zone. Going out of the comfort zone is
not a bad thing. It may lead to the best
thing that will happen in your career.
Remember that you’re a creative
person. You know how to think “outside the box.” You have more skills
than most people wholly focused on
one discipline. As an artist you’ll
have learned about many things:
history, tools, media, writing, etc. I
know many visual arts graduates that
have gone on to be successful in other
careers just by thinking differently. ■
DAVID KNIGHT has a bachelor of fine arts
degree from Wesleyan University and
teaches at Northern Kentucky University.
“It’s really important
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Call for Entries
Cash awards for the 25th
Annual Colored Pencil Society
of America International
Exhibition will total more
than $15,000.
32nd Annual
Bosque Art Classic
National Juried & Judged
Representational Art Show & Sale
In Prizes
Artwork must be 100%
colored pencil. Enter online
between December 15, 2016,
and March 31, 2017.
Daughter of Midas (Detail)
Suzanne Vigil, CPSA (Virginia)
Best of Show and CIPPY Award Winner
2016 CPSA International Exhibition
Since 1990
his is a juried gallery
exhibition to be held at the
Mansion at Strathmore in
North Bethesda, Maryland,
from June 10 to August 6, 2017.
For information about the
exhibition and CPSA
convention, visit:
Become a positive voice
for colored pencil ine art
2017 Judge:
Teal Blake, CA
Image: 2016 Jones Award Winner
Tight Rein by Randy Meador
Entry Deadline
May 22, 2017
Prospectus Online
& By Request
The commissioned portrait is an opportunity
Sharon Sprung embraces. All portraits, she
says, not only convey the subject’s likeness
but “tell us (the viewers) who we are.”
without WORDS
By Maureen Bloomfield
Sprung found
the embroidered
collar in Woman
as Warrior (oil on
panel, 30x32) on
eBay; it’s “like a
dog collar,” Sprung
says. Indeed,
though beautiful,
the weighty collar suggests the
legacy of women’s
physical and psychic oppression.
t any art museum, the biggest crowds are always around pictures of people—at the Louvre, around Leonardo’s Mona Lisa,
at the Rijksmuseum, around Rembrandt’s self-portraits, and
at the Met, around Sargent’s pictures of friends. In today’s
art market, however, pictures of people rarely appear in
gallery shows or at auction. Sharon Sprung has taken
note of this contradiction. “I wish I could convince
people of the importance of portraiture,” she says.
“Portraits are indicative of who we are; they tell us
our history.”
Sprung was fortunate to have studied with two masters of
the genre, Harvey Dinnerstein and Daniel E. Greene. Beyond or
apart from technique, however, is the impetus behind portraiture,
which she explains this way: “I love taking the subway. I want to
be with people. I’m not at all conscious of what I’m doing, but I
can tell (apprehend, understand) each person right away.”
Growing up in Brooklyn, Sprung was a quiet child; after
the death of her father, when she was 6, she stopped speaking
altogether for a year. “I was trying to figure out the world without words,” she says. Even now, she tells me images are more
eloquent than words. She loves being with people because she
loves to watch them. “he best analogy is that I am a person in a
foreign country, without language, watching.”
Now acclaimed as a painter and beloved as a teacher, she bypasses
the conventional wisdom that says that pictures of children are
problematic, because they can be seen as precious, and an attendant assumption that asserts that a commissioned portrait is
somehow lesser, because it’s identifiable as one. Both assumptions
follow from the inevitable compromises that arise when an artist
is paid to please, whether it’s a leader in industry or a parent.
he history of art tells a more nuanced story, however.
Princely donors kneeling at the side of a medieval altarpiece;
MARCH 2017
“The square format
suggests to me
equanimity; it creates
a place of calm so that
the viewer wants to stay
with the painting. I find
the square especially
good for children.”
Painting a Commissioned Portrait
“Commissions, by their nature, are a collective
creation, so I always discuss the way the clients
see the process and what they want from the
outcome,” says Sprung. The subject is David
Harmon, the headmaster of Poly Prep Country
Day School, an independent school in Brooklyn.
Sprung spent two days there, attending
assemblies and walking the halls, “getting a
sense of the headmaster’s commitment to
students.” The question: Where to put him? She
considered about 15 settings, took photos and
made sketches in a process that took several
weeks. When she showed the sketches, it
became, says Sprung, “a communal process
since everyone turned toward the same pose.
The setting we ended up with was the center
of the school, the entranceway where everyone
passes through: a nice comment on his legacy.”
Portrait of a Headmaster (oil on panel,
18th-century kings and cardinals portrayed on thrones; 19th- and
20th-century power couples surrounded by their collections—portraits document their times, and artists have always depended for
their livelihood on patrons, whether in board rooms or at court.
Having accepted a commission to paint a child’s portrait,
Sprung sets up a play date; for a commission of an adult’s portrait,
she “follows” the subject—taking photographs of where he works
and watching how he interacts with colleagues and underlings.
For a judge, she’ll observe her in the courtroom; for a dean, she’ll
be a fly on the wall in the halls of the school (see Painting a
Commissioned Portrait, at left).
Some of her most beautiful portraits, like Screenwriter’s
Daughter (opposite) are of young women she has known their
entire lives, because, as children, they were friends with her son.
Indeed, one of the mysteries of portraiture is that a good portrait
records not just a likeness but a life; for that reason, the past is
prologue. In the event she has accepted a commission to paint
someone new, Sprung says, “I always ask to see photographs
taken when the subject was a child.”
In the classes she teaches at the Art Students League, Sprung
admonishes her students to spend time studying the model:
“Look harder; look more than you paint,” she says. She places the
palette between where she’s standing and the panel, which prevents her from working too close to the surface of the painting.
Restless by nature, she tells students, “Remain at a good distance
from the work and keep moving.”
After posing the model, she positions herself parallel to the
picture plane and starts with a gesture drawing with rough lines
made with Payne’s gray mixed with turpentine. “Movement and
composition are the most important considerations,” she says. “I
strive for fluidity, working all over the canvas, trying to get the
life and the essence of the pose.”
“Gesture is emotion in movement,” she says. “Drawing the
model and the space around her at the same time is essential to
balance the dynamic exchange between the positive and negative
spaces.” Many great portraits are studies in light and shadow, but
not Sprung’s. She uses color, at first, to help her find the figure’s
contours—blocking in bright color behind the gestural drawing
and then working, against the color, to distinguish between the
color field and the figure. In this, she resembles David Hockney.
Along with color, the square format distinguishes Sprung’s work
from portrait painters in the past and now. “he square format
suggests to me,” she says, “equanimity; it creates a place of calm
so that the viewer wants to stay with the painting. I find the
square especially good for children.” he square, whose sides are
equal, suggests stasis in contrast to the movement implied by the
spiral and the eternity implied by the circle. he four sides of the
square can suggest the four directions (east, west, north, south),
Sprung has known the subject of
The Screenwriter’s Daughter (oil on panel,
36x42), since she was 4 years old. “Hardworking, independent, beautiful—she
epitomizes everything I admire about mixed
ancestry and respect for diversity in this,
my son’s generation.”
Portrait of L (oil on panel,
16x16) is one of a series of portraits of the
children in a family; all are in a square format. The ochre background is continuous
with the boy’s hair, and the bright blue of
the shirt anchors the composition.
MARCH 2017
Refugee (oil on panel, 42x42) is a
comment on the current international crisis. The subject is the American child of a
biracial marriage; he is not a refugee, but
he represents for Sprung “someone proud,
talented, but not in the mainstream.” The
fence and the houses in the background
reinforce the sense of exclusion.
Juxtaposing the bright colors and
linear pattern of the pajamas with the disorder
of the subject’s hair, Entangled (oil on panel,
40x40) portrays a convoluted state of mind.
the four elements (earth, air, fi re, water), and the four seasons
(spring, summer, fall, winter). he grandeur of the conventional
portrait of a king or queen (by Ingres, Velázquez, Rubens, etc.)
attests to the power of the subject, often enthroned, on horseback,
or indomitable in the midst of a whirling storm. he elongated,
vertical rectangular format stresses the metaphorical height of
the personage and aligns him with sky. In contrast is the humble
square, with four right angles that assert stability and innocence
(as in a child’s drawing of a house), particularly resonant for a
portrait of a child, who is inchoate, not having reached the age of
reason and not having had a chance to decide who or what she is.
On Commonality
It is hard for me to express
the importance that I place
on portraits. To me, they are
visual biographies, proof that
that person lived and breathed
and created who they were. I
have only a few photographs
of my father; I held and hold
tightly to the few visual memories of him that I have. With
my portraiture, I want to be a
witness, to explain—beyond
words—who my subjects are.
This was especially true
for the several posthumous
portraits I have done, perhaps most notably of the
first woman congressperson,
Jeannette Rankin.
For me, painting people in
my own figure work or commissioned portraits is the meaning
of my life. I am a visual person—it is my orientation to the
world. The visual gives a sense
and order to the chaos.
In the standard Dutch, later Baroque, neo-classical, and romantic
portrait, the figure usually emerges from shadow, as if to imply
that the subject illumines the darkness. Sprung’s portraits, in
contrast, just as dramatic, are always bright. “I love color,” she
says. “It’s a major impetus in my work. Paintings are decorative,
initially—they call the viewer to a design of color and light.”
Beauty and even severity don’t have to be dour, in other
words. he first principle is pleasure. “To me,” Sprung says, “the
first motivation is to hold the viewer—so that she stays in order
to study and to feel. I have to create for her the motivation to
investigate the larger meaning of the painting.”
he colors she places behind and around the figure are bold
and clear, a field of pure chroma, with few, if any, gestural flourishes. “I use strong colors,” she says. “For me it’s like an arrangement in music. I choose notes that complement, enhance and
contrast with each other. Color to me is the first element in a
painting; in a way, it’s the starting point.”
Sprung’s house is fi lled with color, with fabrics, carpets
and textiles, even “hanging from the banisters.” “Contemporary
design,” she says, “seems so often devoid of color, lacking the
subtlety and warmth that well-orchestrated color provides.”
When I complimented Sprung on her portraits of children,
portraits that assert the subject without sentimentality, she was
quick to say, “It doesn’t make a difference to me how old or young
people are. I don’t think of myself as a painter
of children. I don’t see the distinction.”
To a similar end and inspiring a similar
response, I asked her to think about the differences between a portrait commission and “her
own paintings.” She told me something else I
didn’t expect: that there’s not that much of a
difference. “he process is similar,” she says.
“When I conceive of my own work, it’s an idea
or a feeling or an emotion I want to pursue,
investigate and struggle with. I am always hoping that in the specific I will find or embrace
the universal—that investigation never stops.”
In the past Sprung has described her process
and work as a way of uniting figuration with
abstraction. Her figures are beautifully (almost
classically) rendered, but rather than place the
figure in Renaissance depth and space, Sprung
poses the figure against a field of color, a decision that pays indirect homage to late Abstract
Expressionism and Color Field pictures of the
'50s and '60s.
Watching her do a demonstration for a
class is a thrill, as it seems that she finds rather
than imposes an outline or a contour or any
MARCH 2017
mark that indicates where the figure begins and
the ground ends. Working quickly with black
marks and palette knives laden with color, she
goes over strokes, correcting them, revising
them, erasing and re-emphasizing, while always
staring at the model, until, seemingly all of a
sudden, the figure comes to life. “All my paintings start abstractly,” she says, “hat means that
I need to trust myself and my skills in drawing
and painting—to allow things to weave together
slowly. It starts with broad shapes and colors,
and decisions to refine and refine, or to leave
other areas loose—so that the picture can breathe.” he palette
knives she prefers to brushes give her “an opportunity to be more
physical.” “he knife allows for a layering,” she says, “an effect
that feels more like flesh.”
he value of the formal portrait in a society is twofold. It documents an event in that it preserves the likeness of an actor in history. It also becomes a substitute for its subject and in that way
can inspire devotion. hus, it’s important for an institution to
have portraits of its directors and also important for mourners to
have a portrait of a beloved parent or child. “I feel, when I do a
SPRUNG “I feel
portrait, as if it’s an expression of love,” Sprung says. “I
know it’s finished when I walk into the studio in the
morning and it’s separate and breathing.”
A humanist, Sprung argues that portraiture “connects us to and communicates our humanity.” Indeed,
there is a lovely universality in the fact that pictures
of a child at the start of his life, of a head of state in
his prime, or of an artist near death can all make us
cry. “Portraits confi rm the importance of all of us,
singularly and collectively,” she says. “hey reflect our
common experiences; they elevate and comfort us. We
have walked here before, we have felt this before without words. We all understand the subtle differences
in the cast of an eye, the turn of head, the expression
of a mouth. Portraiture tells us we are here; we are
respected or loved or that we have earned a place in the
larger venue of history.”
It goes without saying that the artist would have
loved a portrait of her father, who died over 50 years
ago. “He was a strong presence and I feel I have an
obligation to give his life meaning. I am the only
Sprung,” she says. “Every time I sign a painting, it’s
with his name.” ■
Pigeon (oil on panel, 22x22)
shows an unguarded side of a model
beloved at the Art Students League
of New York.
OPPOSITE TOP: Portrait of Li (oil on
panel, 22x22) is a study in the
dynamics and variation of color, as
well as a charming depiction of the
subject’s essential joy.
fortunate in that most
of my now long career
has been spent creating my own work and
exhibiting it,” says
Sprung. “I’ve had
many one-person and
group shows at Gallery
Henoch in New York
City. For 35 years the
gallery has encouraged and supported
my growth as an artist.” Sprung attended
Cornell but got her
art education at the
Art Students League,
where she now teaches.
She has garnered
many awards from
the Portrait Society of
America, International
Artist Magazine and
The Artist’s Magazine,
for which she has
served as a juror for our
Annual Art Competition.
“I consider my commissioned portraits not
separate,” she says,
“but part of my artistic
Visit Sprung’s website
OILS: Vasari flake white,
yellow ochre, raw sienna,
permanent red, scarlet
sienna, alizarin, raw umber,
Payne’s gray, cobalt blue
TOOLS: palette knives from
small to large
MAUREEN BLOOMFIELD is the editor of The Artist’s Magazine.
MARCH 2017
By Judith Fairly
to San Francisco to see “Birth of
Impressionism: Masterpieces from
the Musée d’Orsay,” the fi rst of
two consecutive exhibitions at the
de Young Museum. he exhibition,
on tour while the Musée d’Orsay
underwent refurbishment, was a rare
opportunity to see a collection of
roughly 100 paintings by the masters
of Impressionism who lived in France
during the mid-19th century. “It
sparked a real desire in me to be a
contemporary Impressionist painter,”
says Mulligan, and it set him on
the path to a flourishing, but wholly
unexpected, midlife career that
has unfolded in a manner that he
describes as “surreal.”
LEFT: I Street Bridge, Sacramento (acrylic
on canvas, 20x24) displays a strong design
of simplified shapes, linear movements and
vivid reimagining of colors.
MARCH 2017
RETURN TO ART Mulligan had earned a
bachelor’s degree in art from California State
University in Sacramento years earlier, but he
set aside his art career in order to teach his two
children at home. He made prints and drawings
that he exhibited at local galleries, museums
and venues such as the state fair before taking a
job with the State of California.
he exhibition on Impressionism inspired
him to take up painting again, though not with
any thought of making it a career. “I was fascinated by the artists’ letters and notes—reading Monet’s account of his excitement over
capturing the movement of grass beneath the
surface of the water or about Monet and Renoir
traveling to sites along the Seine to paint together. I wanted to
become an artist who painted in an Impressionist style.”
INTUITIVE COLOR, RAW STYLE hough the influence of
Impressionism is perceptible in Mulligan’s early paintings, the
work of more contemporary artists resonated with his desire to
paint not just the light, but also his own experience of what he
was seeing. His subjects—city neighborhoods and the natural
landscape—seemed to demand a more expressive language.
“hese locations have special meaning to me,” he says. “hey’re
where I grew up, where I vacationed with my family. For some
reason, my mind and my arm had difficulty painting a completely
impressionistic painting. I always wanted to include a section
with a different style, and those sections were usually what I
loved the most. hey felt more contemporary, more ‘me.’ After
The Bay Area
was led by a
group of artists in
the San Francisco
Bay Area who
abandoned the
of the prevailing
style of Abstract
Expressionism in
favor of a return
to figuration.
Artists include
David Park, Elmer
Bischoff, Richard
Diebenkorn and
Wayne Thiebaud.
Color Field artists,
such as Barnett
Newman, developed an Americanbased abstract
style during the
1940s through
1960s that was
by large areas of
unmodulated color.
several months, I began adding sections to my paintings in a style
influenced by the artists of the Bay Area Figurative Movement, like
Richard Diebenkorn, whose paintings seemed shockingly real and
semiabstract at the same time. I began using bolder paint strokes,
altering the texture of paint, simplifying shapes and minimizing
the information.”
In seeking to capture the northern California light, Mulligan
is mindful of how the Impressionists “painted the light” by
applying thick layers of saturated color in a bright tonal range
with broken brushstrokes to more closely mimic the experience of seeing. “I use color in an intuitive manner, but I’m also
aware of the color relationships and try to use what I’ve learned
about the effects of colors from the Color Field artists and the
Fauves. I’ll intensify and alter the color of an object to capture an
emotional response to that object. I’ve also been inspired by the
Shadows (acrylic on canvas, 20x24), Mulligan
explored the early morning shadows and colors
of the Sacramento River.
“I wanted to
push the colors in
The Rivercrossing (acrylic on canvas, 60x48) as
far as I could, and still
make them feel truthful,”
says Mulligan. “I used
dark shadows, intense
light and colorful reflections to help construct
this composition.”
Fauves (from the
French for “wild
beasts”) were
avant-garde artists
of the early 20th
century whose
work emphasized
vivid and oftendiscordant color,
simplified and
unified forms, and
painterly brushstrokes to evoke
an emotional
response in viewers rather than to
simply describe
a subject. Artists
include Henri
Matisse, André
Derain, Raoul
Dufy and Georges
MARCH 2017
By Timothy Mulligan
Cargo Ship,
W. Sac (acrylic on
canvas, 24x20)
Linear movement, achieved through
edges, texture and the juxtaposition of
shapes and color has several functions
in my work, as seen in Cargo Ship, W.
Sac (lower left):
It directs the eye through sections
of a painting, such as the right and left
sides of Cargo Ship, W. Sac.
By simplifying the image—reducing
the clutter—(detail A), the lines allow
me to strengthen the composition.
Lines also help me to redefine form,
shape and movement, such as with the
reflections in the water in detail B.
To convey how I feel about or interpret the subject, I can choose to create
expressive lines, such as the vertical
impasto ridges in the details, or lines
that are more careful and orderly.
The overall effect of linear movement is to create more interest. For
example, the contrast of the threedimensional impasto to the flat, twodimensional surface attracts the viewer’s eye. With an overhead light catching the ridges of paint, as seen in the
details A and B, the picture becomes
more dynamic.
SURFACE: canvas
PAINT: Chroma Atelier
Interactive Artists’ Acrylic
PALETTE: naphthol red light,
cobalt blue, phthalo green,
acrylamide yellow light,
dioxide purple, orange, cerulean blue, ultramarine blue,
titanium white
Freestyle, Princeton Catalyst
Blades (for larger paintings)
BRUSHES: Princeton Dakota
and Princeton Catalyst rounds
to sketch outlines, fill in
lines and change areas, if
EASEL: Mayline Futur-Matic
drawing table
“The colors and late
afternoon shadows stretching across a long dock at
Lake Tahoe fascinated me,”
says Mulligan. “In Tahoe
Blue Shadows (acrylic on
canvas, 24x20), I defined the
depth and created interest
by including three colorful
benches along the top left
hypercolorful effects of other Sacramento Valley painters, like
Gregory Konos. Today my paintings are expressive in style with
northern California color, what I would call a ‘raw’ style.”
FIELD WORK He began showing his work in local art competi-
tions and winning awards. In 2015, he had a solo gallery exhibition; since then, his painting career has continued to follow an
upward trajectory. Mulligan approaches his art with a sense
of urgency, painting almost every day in order to keep up with
upcoming shows. He doesn’t want to forget the techniques he
has learned through experimentation or forego the benefits of
happy accidents on canvas. “Fifty percent of painting is playful
experimentation,” he says. Mulligan spends a good deal of time
planning his paintings. He might walk, climb or kayak to an area,
making sketches and notes and taking hundreds of reference
photos. Back in the studio he finalizes the sketches, then makes a
quick outline on the canvas with a brush and orange paint.
If he’s painting en plein air, he can usually
complete the smaller paintings in one sitting.
“he shifting light is always a struggle,” he says.
“Usually I have a plan in my head and some
ideas about composition. I try to capture the
light and shadows at the most interesting time.”
French Impressionists, Mulligan often paints
en plein air, but his larger paintings are done in
his studio because the fast-drying acrylics he
uses require him to work in sections. Mulligan
set up his studio in a breakfast nook with good
northern light in his home and decided to use
acrylic paint in order to avoid the harsh smell
and possibly toxic cleanup associated with oil
paint. Since he paints alla prima, acrylics can
MARCH 2017
The large barns in Farm Buildings
(acrylic on canvas, 48x60), appear to be
basking in the sun. Note the way the green
light reflecting from the grass onto the wall
of the nearer barn merges with the blue
shadow beneath its overhanging roof.
Mulligan simulated the light
on the red door in Pier 2, Fort Mason
(acrylic on canvas, 48x36) with a thick
patch of lighter red paint. He then
scratched lines through the paint to
bring out the door’s texture.
make that method more of a challenge. “When I found that
Chroma Atelier Interactive Artists’ Acrylics can be rehydrated
with a spray bottle to extend the working time, they seemed
the perfect match for me,” he says. “I can spend up to three and
a half hours per session, enough time to adjust my colors and
experiment with texture. Although I sometimes lose some color
complexity due to extended wet-into-wet painting (blending), I
appreciate the extra time I have to experiment with thick linear
movements (see Linear Movement in a Painting, page 44), marbling, and color combinations that transform the paint by letting
it simulate the object it’s representing.”
“Painting in acrylics with knives is like juggling balls and falling through the air
at the same time. But these knives give me the freedom to be creative and the
ability to paint delicate, rough and everything in-between.” TIMOTHY MULLIGAN
a bachelor of arts degree in
fine art from California State
University, Sacramento. His
paintings have appeared
in Southwest Art and
International Artist, and he
was a finalist in The Artist’s
Magazine’s 30th, 32nd and
33rd Annual Art Competitions
(where we discovered his
work). In 2015, Alex Bult, the
grandson of Wayne Thiebaud,
gave Mulligan his first solo
exhibition, “Raw, Real &
Reimagined,” at the Alex
Bult Gallery (Sacramento,
Calif). Elliott Fouts Gallery
(Sacramento, Calif.), is holding a solo exhibition of his
work in June 2017.
Visit Mulligan’s website at
Timothy Mulligan (left),
Wayne Thiebaud (center) and
Gregory Kondos (right) at
the reception for Mulligan’s
2015 exhibition “Raw, Real &
Reimagined” at the Alex Bult
Mulligan doesn’t use painting mediums or glossy finishes;
the saturated color of the acrylic pigments alone seems to make
the colors in his paintings bolder and brighter. “he most interesting areas tend to be where the edges of the objects meet, the
folds and recesses, the light areas and the shadows, the perceived
lines between areas of near and far,” he observes. “he result I
hope to achieve is capturing a brief and heightened sense of the
subject among the simplified and abstracted forms and colors
that surround it.” He uses painting knives, tools that he believes
lend themselves to expression more so than brushes do. “Painting
in acrylics with knives is like juggling balls and falling through
the air at the same time,” he says. “But these knives give me the
freedom to be creative and the ability to paint delicate, rough and
everything in-between.”
both as an artist and in the way he views art: “I
strive to capture a different and deeper sense of
‘real,’” he says. “he way I view a painting now
is different from the way I looked at a painting before. I used to see it only as a beautiful
end product. Now I see each brushstroke being
considered, each color carefully selected, the
complex process of creating a view of the world.
Sometimes you can see the hand of the artist
working and moving on the canvas. I hope I
can achieve this in my paintings. To people like
me, who didn’t pursue art at first but discovered
their passion later in life, I would say, ‘It’s never
too late. Don’t ever give up on your dreams.’” ■
IT’S NEVER TOO LATE he five years since Mulligan first took
JUDITH FAIRLY writes about the visual arts and is a
frequent contributor to The Artist’s Magazine.
up a brush have been an intense period in which he has evolved
MARCH 2017
Instructor at the New York Academy of Art, Studio Incamminati and the Art Students League,
and cofounder of Grand Central Academy, Dan Thompson shares his insights on grisaille, gesture
and injecting the classical figure with bold color and mottled texture. BY LOUISE B. HAFESH
the 15-minute lull while sitting in a
lobby of an old-fashioned apartment
building in Washington, D.C., that
redirected the course of my life,” says
Virginia artist, Dan hompson. “I
was a senior in high school, and my
operatic vocal coach, Jon Lackey, had
kindly arranged a visit to a friend
of his who was a successful portrait
painter. Jon knew that I liked to
draw and paint, and he wanted me to
have the chance to hear his friend’s
comments about my work.”
While waiting in that lobby,
Lackey asked hompson for a glimpse
of his portfolio and waded through
his pupil’s drawings and painted canvases. “I had been studying bel canto
with Mr. Lackey for about two years,”
In Kitakiya (on 22x15 paper), a toning
layer of warm/cool watercolor (raw umber
plus ultramarine blue) provides the flesh
mid-tones and complements the red chalk.
RIGHT: Thompson, who has often painted the
model seen in James 1 (oil on linen, 28x22),
says, “His physique allows for interpretive
lighting. Painters should behave like filmmakers, using lighting to literally shift the subject’s apparent proportions to suit the mood.”
MARCH 2017
bel canto: “beautiful singing”; an
Italian operatic
vocal technique
originating in the
18th century
Nelson Shanks
portrait artist and
founder of Studio
In a preparatory graphite
drawing, Thompson
pushed the development of a reclining
figure that would
later appear in
Bewitch (oil on
linen, 18x28). In
the painting, he
completed the figure
prior to adding the
“waterfall” of fabric.
says hompson. “My talent at fi rst had been
unclear, but my determination undeniable; I
practiced for at least two hours a day and had
a lesson once a week, during which my coach
took me through rigorous studies illuminating a path toward technical grace. ‘You know,
Dan,’ he said while viewing my portfolio,
‘you’ve been a good music student, but this,’—
he held up a few of my drawings—‘this is
what you should be doing!’ I was stunned!
What about my future? What about trying
to be a great singer? But something inside
me, something on a deep intuitive level,
agreed. I should be drawing and painting. I
knew it. Mr. Lackey was right.”
hat spring, with music out of the picture,
hompson applied and was accepted at the
Corcoran School of Art in Washington, D.C.
He would go on to study art at several of the
most important representational schools of
the day, the mainstay being the New York
Academy of Art (NYAA).
“h roughout my studies I had been
aware of the NYAA, but didn’t feel in the
same league with its students—because I
wasn’t,” hompson says. “It was only after a
few years of atelier training that my interests
in the academy, formalized anatomy and a
master of fine arts degree converged, and I
took a chance on an application. To my complete shock, a scholarship was offered, which
brought me to New York City.” While in the student-immersion mode,
hompson would pursue training at the Art
Students League and Water Street Atelier.
He also connected with Nelson Shanks, an
association that led to a teaching position at
the master painter’s Philadelphia academy,
Studio Incamminati. “It was about this time (2006) when
three friends invited me to partner with
them in starting a school of our own in New
York City,” says hompson. “We worked
the program out from top to bottom—the
location, structure, curriculum, portfolio
review, easels and lighting—even named it
together: It was called the ‘Grand Central
Academy of Art.’” (he school now goes by
the name Grand Central Atelier, or GCA.).
Recalling those days, he explains further, “So much of what forged later working
relationships seemed to grow out of my
training: he seeds of GCA were sown at
the Water Street Atelier; my long serving
role at the New York Academy—I’ve now
been a professor of drawing there for nearly
half of the 34-year life span of the academy—
was in part due to my enthusiasm for the
NYAA community.”
Today, in addition to the academy,
hompson continues to teach at Incamminati.
He also conducts weekly classes at the Art
Students League of New York, where I
caught up with the artist/instructor this past
summer as he presented a two-day demonstration (see From Grisaille to Color, pages
52–53). Afterwards, we engaged in conversation that touched on his teaching tenets,
painting practices and unique perspective on
contemporary realist art.
Louise B. Hafesh (LBH): What artists and teachers,
past or present, do you admire and consider influential to your style?
Dan Thompson (DT): I was fortunate to be a
student of several masters. he most celebrated artist that I worked with was Nelson
Shanks. When I painted under him, his
delivery was ruthless, as though he
were teaching “street smart” painting. He was always going after the
way I stood, not painted, because
he wanted that energy bottled up
in a painter to be on the verge of
an explosion. He spoke often of
doing big things in a big way, but
he was, for me, the embodiment of
urgent achievement. here was no
time to waste.
Another voice I miss is
Martha Erlebacher’s. She believed
in the figure. Her critiques made
students cry, and she never softened her words. To Martha, too
much was at stake, and art was
always about big things. She
also stood for fine craftsmanship,
knowledge of the body and the
commitment of that knowledge
to memory in order to pile more
metaphor into painting. On
critique days at the New York
Academy, she entered the building
like a warrior and fought her way
through. She was eminent.
Deane G. Keller was the
ambassador of the erudite tradition of art. Deane’s unyielding respect for his
father’s instructor (George Bridgman) brought
forth an immense appreciation of structure
and the nuances of human anatomy. It also
opened doors to that time, the teachers and
the fascination I still have with the League’s
culture of learning from its golden age.
LBH: As a co-founder of two ateliers and proponent of traditional oil painting and drawing techniques, what would you say are the major advantages of academic art education?
DT: What I discovered during my academic
studies is that the atelier system is ideal,
since it allows you to spend the amount of
time you need—in some cases months or
years—to absorb and master techniques.
Certainly one of the prime advantages for
students who devote themselves to a sustained education in classical methodologies
is the acquisition of a strong drawing foundation. Drawing proficiency, in my view,
means having an encyclopedic comprehension of the awesome language of drawing
and what it lends to oil painting—as in its
use in direct or indirect approaches. It is the
Martha Erlebacher
(American, 1937–
2013): broke from
her AbstractExpressionist
training to paint
figures and still
lifes in the classical tradition;
instructor at
the New York
Academy of Art
from 1992 to
Deane G. Keller
painter, sculptor and teacher,
particularly noted
for his instruction
in figure drawing
at Lyme Academy
College of Fine
Arts, the New
York Academy of
Art and the Art
Students League
of New York
George Bridgman
(CanadianAmerican, 1865–
1943): painter
and author who
taught anatomy for
45 years at the Art
Students League
of New York
“I explored gesture and edge in
Ozymandias (oil
on linen, 28x18),”
says Thompson.
“While painting it, I
became more aware
than ever of the
fact that a ‘contour’
is more a boundary than a line—a
boundary which
imposes extreme
foreshortening on
uncountable lines
of form.”
MARCH 2017
By Dan Thompson
1. OPEN GRISAILLE: I had the honor of
painting Jack in Studio Six of The Art
Students League of New York. This was
the room of Kenneth Hayes Miller, a
portrait/figure artist who taught at the
League from 1911 to 1951. I set forth
a process of reacting to Jack’s pose by
selecting a watery combination of dark/
light oil colors and articulating marks
that one could call “place holders.”
Because I must work from something, I
need some form of design presence to
materialize on the linen so that it may
be refined. This method of beginning,
which I call “open grisaille,” minimizes
tonality meant for stating darks; the canvas tone functions as the de facto light.
It’s important for the painter to engage
with both sides of the tonal range, to
steer visual flourishes from within
shapes. The higher-key lights also shift
my painting from the impression of total
flatness to one where corners of the
form and figure materialize. I looked for
specifics related to this: Jack’s shoulder landmarks, his sinus eminences
(two prominences above the brow) the
zygomatic (cheekbone) prominence and
his alar cartilage (cartilage on the lower
third of the nose)—all fundamental
concerns of the planar head were here
articulated through light/dark accents.
This is called “closed grisaille.”
2. CLOSED GRISAILLE: With the addition
of a lighter value, I find it possible to
access eye-catching characteristics
that aren’t predominately shadows.
Jack’s pose and body language called
for something strong, smart and bold.
The blue background served as a color
anchor while I mixed combinations for
his shirt, hair and face, and created an
overall light effect, which was meant
as an initial layer. I tried to bounce the
focus of my eye from place to place in
order not to stare into things and “think”
the color instead of seeing it; I further
hoped that my marks of grisaille placement could invite color adjustments
without one phase of the painting turning against the other. I always strive for
a complementary system.
out mixtures on my palette to represent
color masses, such as skin in light or
skin in shadow. These were intended to
add temperature and mood to the piece.
oped the color, I saw that I needed to
relate the shadow on Jack’s face to
the surrounding blue. I also wanted
his shirt to fill out most of the lighter
end of the range. I try to compose the
THOMPSON’S PALETTE (clockwise from lower left) permanent magenta
(Winsor & Newton—WN), manganese violet (Williamsburg—W), dioxazine purple
(Gamblin—G), ultramarine blue deep (WN), cerulean blue hue (G), phthalo
turquoise (G), permanent green light (WN), cadmium green pale (G), cadmium
yellow light (Old Holland—OH), Indian yellow (WN), cadmium yellow deep (OH),
yellow ocher pale (WN), raw sienna (WN), cadmium yellow extra deep (OH), Mars
orange (W), quinacridone gold brown (W), cadmium scarlet (WN), Italian Pompeii
red (W), naphthol red (G), perylene red (G), burgundy wine red (anthraquinone)
(OH), permanent rose (WN), Mars violet deep (WN), “the great off-note” (a pile
of the previous day’s colors); whites (left to right): Holbein silver white, Blockx
titanium white; grisaille color (not pictured): raw umber (WN)
color before I start a painting (using the
backdrops and clothing) so that when
the color refinement happens, colors
close in on one another more naturally
while allowing me to emphasize certain
areas. With this portrayal of Jack, I was
most interested in his facial features and
expression. This moment in the process
was thereby an attempt to carve out the
context for finishing Jack’s portrait.
painter named Cedric Egeli, who used
the phrase, “too human, too soon.”
Those four words have made such a
difference to me. In this image of the
evolving (or devolving) piece, I searched
for abstraction and rhythm, and I studied the interconnections of the features.
I find working the total figure to be
meaningful, which here translated into
observing and painting Jack’s ear as a
striking contribution to his unique facial
expression. The way he sat, his posture,
motivated me to undertake a concerted
effort to convey his singular vitality.
SURFACE: Fredrix Blue Label
prestretched linen
OILS: See Thompson’s Palette
MEDIUM: Kremer walnut oil
FEELING: As I neared completion of
the demonstration, I hoped an echo of
Jack’s strength and steadfastness would
be evident. The lift in his mouth and the
shade in his eyes gave me something
almost contradictory; I tried not to stand
in its way. Since my brush awakened,
I’ve trusted it as a substantive contribution to the authenticity of painting
from life. In Working Portrait of Jack, it
appears to have brought out some of
my instinct for form, which is where the
textural magic can happen.
TOOLS: Robert Simmons Nos.
2–6 filberts and Nos. 2–8 Signet
egberts; Silver Brush Nos. 2–8
Grand Prix filberts, and No. 4
Silverstone filbert; da Vinci Nos.
2–10 Maestro 2 frescos; Holbein
No. 2910 palette knife (similar to
Blick No. 50 RGM)
ABOVE: Working Portrait of
Jack (oil on linen, 24x18)
MARCH 2017
Henry Hensche
(GermanAmerican, 1899–
1992): classically
trained painter
who admired the
He studied
the “color note”
approach to painting under Charles
W. Hawthorne and
outlined its principles in a teachable form.
Charles Herbert
marine painter;
founder of the
Ogunquit School
(Maine) and
elected a National
of the National
Academy of
Design in 1907
Eric Fischl
1948– ) painter,
sculptor, printmaker and senior
critic at the New
York Academy
of Art
Thompson considers Marina, Figure
(graphite on paper,
24x18) one of his
stronger demonstration drawings “due
entirely,” he says,
“to the model, who
knows how to emanate; she has a selfaware presence.”
Reanimate (oil on
linen, 18x28) the
figure’s fingers are in
counterpoint to the
skeleton’s rib cage.
strategic use of drawing and the grisaille
in oil paint, which allows visual insights to
complement one another.
LBH: Regarding your own artistic development,
which has taken dramatic turns over the course of
your career, has it been hard to strike a balance
between the indirect classical principles that you
teach and your alla prima interpretations?
DT: I noticed a significant change in my
work in 2014, after a series of debilitating
incidents sent our atelier into crisis mode.
My sense of how to transform disaster into
opportunity was to turn inward and ask deep
questions about what I was doing here. Had
I been meant for instruction—which is a
noble science—or had I been meant for composition? By deciding that my painting procedure in no way advocates for or is beholden
to any orthodoxy or technique or school and
that I do not embody the ideal painter to
emulate, I was able to let go and recapture
a genuine, self-wrought legitimacy and the
strength to push onward with exuberance—
to paint by instinct.
LBH: What is your favorite subject matter?
DT: he figure is the perfect form, impossible
to fully understand, endless in complexity
and mystery. Light and color are the blood of
dramatic picture making, and their performance must be persistently expanded. here
is nearly always a fascinating, underlying
story to a piece, a narrative. I attempt to
fuse those influences—nature, figure, light,
color and narrative—into the alchemy that is
LBH: Describe your artistic process—what
approach or techniques do you use?
DT: I would characterize my process as
composing, setting the key, editing and finessing the subtleties. When I start, I try to be
receptive to visual poignancies. For now, I
see grisaille as the ideal means to arrange
and advance a design within. h rough it,
I can scrutinize gesture and proportion;
investigate compositional balance; state and
restate the principality and sacrifice of light
and shadow shapes.
For a picture to appear animated, I veer
toward color keying at an early opportunity.
A feature of grisaille that makes it rewarding
is the lack of interest I have in overcooking it; the grisaille painting must be ready
for the application of color without fear of
disturbing the underlayers. Color goes in for
mood, for composition and for what I call
the ‘gesture of light’ as soon as I can integrate it. I do my best to abide by a roadmap
of color development outlined by Henry
Hensche in his chapter “he Painting of a
Still Life” in he Art of Seeing and Painting
(Portier Gorman Publications, 1988; out of
he great paintings, the ones that have
left me speechless (like those of Marià
Fortuny, Antonio Mancini and Adolph
Menzel) involved superb editing. My middle
game of painting approaches color building up by, as Charles Woodbury once said,
“adding the element that is missing.”
LBH: Please expand on the advantages of painting
from life and your thoughts on using photographic
DT: Photographs and projected images are
use them to great effect, but photos have
wreaked havoc on inexperienced painters
because they cannot see past the distortions
in depth of field, edges and monocular image
freezes. Life work teaches many unexpected
things, such as patient observation—honing
the ability to arrive at a contour even as one
continues to see past that contour, giving
the pose slight changes. Better than painting from memory and more fulfi lling than a
photograph, life painting is the mechanism
of self-discovery.
LBH. What criteria do you use to decide when a
painting is finished?
DT: A wonderful quotation caught my eye
recently by a contemporary figure painter,
Eric Fischl. Answering the question of
knowing when a painting is finished, he said,
“... when I become the spectator.” ■
LOUISE B. HAFESH is an award-winning artist and
writer, and a frequent contributor to The Artist’s
Magazine. You can see examples of her work at and
com) received a
bachelor of fine arts
degree from the
Corcoran School
of Art (Washington,
D.C.) and a master
of fine arts degree
from the New
York Academy of
Art (NYAA). He
supplemented his
training with several
additional years of
private study and
studio apprenticeships. He has been
awarded two grants
from the Elizabeth
and has twice
received the Ethel
Lorraine Bernstein
Memorial Award
for Excellence in
Painting from the
Corcoran College of
Art and Design. In
2001, Thompson
won Best of Show
in the American
Society of Portrait
Artist’s International
Portrait Competition
at the Metropolitan
Museum of Art
in New York. In
2006, Thompson
co-founded the
Grand Central
Academy of Art
(now Grand Central
Atelier) in New York
City. His teaching
credentials include
the New School/
Parsons (New York
City), the New York
Academy of Art, the
Art Students League
of New York and
Studio Incamminati
(Philadelphia), as
well as workshops
in the United States,
Italy and France.
not proxies for reality. Experienced painters
MARCH 2017
By McKenzie Graham
Within this year's tapestry of winners run some common
threads. Most had to ply through years of the joyous
but all-consuming task of rearing children; some had
felt the budding of artistic talent since childhood but
had never had the opportunity to nourish its growth in
school—perservering instead through the self-taught route
once they’d retired. All of them exude a reverence for the
passion of art making, not as a hobby but instead as a way
of life, and we're proud to present their masterpieces here.
Meet the 10 Winners of Our
Over 60 Art Competition.
Patricia A. Walsh
John S. Corrao
I became a corrections officer but
found ways to stay creative—from
making quilts to studying graffiti. By
the time I retired, I was fully committed to painting. Love of learning
seems to be endangered, and I do
think that as we age we become more
aware that our lives are made up of
moments and it’s important to enjoy
each one of them.
I worked in the art department
of a small Manhattan ad agency.
Eventually, I opened a commercial
studio, but I could always hear the
brushes, the canvases and the paints
whispering to me. After decades of
deadlines, I decided to return full time
to oil painting.
Beet Brothers (oil on panel, 9x12)
We Built This (oil on canvas, 12x16)
MARCH 2017
Carla O’Connor
Janice Druian
Rose D’Intino Gates
Teaching made me a student of communication and psychology. It was
challenging and frustrating to meet 25
people every month and try to explain
something personal and visual. If I
had another life, I would study emotional responses—how we translate
spoken word and process instructions.
Hunters and Gatherers (watercolor
and gouache on paper, 36x48)
This piece is from a trip. We were just
sitting down to dinner outside our minitrailer when a storm started brewing.
Every few minutes I would leap up and
take photos of the best view. I was up
and down through the meal. Wonderful evening, wonderful memory.
Storm Over Summer Lake (oil
on linen on board, 16x20)
My inspiration was a bouquet of tulips.
I used a gallery-wrapped canvas and
decided to enhance it with transfers.
An intuitive gathering of images balanced the composition, including
mandalas and a black bird. Kirigami
stencils were added with gold and
silver acrylic paints.
Flowers Blooming (mixed
media on canvas, 24x36)
MARCH 2017
Anna Wainright
Tom Hedderich
Kristin Herzog
Ten years ago, I started painting with
some success. I taught myself about
color, value and composition by trial
and error—many errors. My work
almost always includes the landscape,
and my goal is to paint as much as I
can until I'm satisfied with my work,
which, I hope, never happens.
In the Rain (oil on canvas,
For years my work didn't have a solid,
consistent look as I searched for a
“looser” style. The past nine or 10
years, I finally began putting brush to
paper in an instinctive manner lending itself to a more studied, realistic,
textured approach. People are often
surprised my paintings are watercolors.
LEFT BOTTOM: Savannah Gator
(watercolor on paper, 181⁄2 x25)
I like what I think of as recklessness.
I’ll mess up my painting or use some
dreadful color or combination just to
test my ability to make it work, to take
something haphazard and make it a
success. I think that's where having
confidence in my ability to grow and
problem solve is so important—more
important than talent, I suspect.
Vase with Flowers V (acrylic on
canvas, 36x36); photo by Peter Toth
MARCH 2017
Deborah Elmquist
Murad Saÿen
Chase Bailey
When you teach, you learn what you
believe about creating art. I believe
these words with all my heart. When
I retired from teaching in a public
school, teaching workshops was a
natural course for me, and I've been
painting and teaching ever since.
My work has become more emotive and
less obviously symbolic as I’ve aged.
This painting is my third attempt to
render the late afternoon light coming
through the hand-laid glass windows
and illuminating a basin and pitcher,
which seem to embody the simplicity
and elegance of the Shaker path. ■
Sunday Sacrifice (oil on canvas,
Shaker Interior, No. 3 (oil on
panel, 36x36)
William Hayes
R. Mike
Linda Popple
Gerard Huber
Sherry Loehr
Eve Miller
Frank Vurraro
MARCH 2017
he Best in Art Instruction at
Art Journey Animals
A Collection of Inspiring
Contemporary Masterworks
Edited by Jamie Markle
The best of the best masterworks from
AcrylicWorks, Splash, Strokes of Genius
and INCITE have been compiled into
this gorgeous, oversized full-color book,
which includes observations into the
texture, innovation, style and significance
of each piece. Accompanying in-depth interviews with the artists offer meaningful
insights into nature, the creative process
and the human condition.
Jean Haines’
Watercolor Workout
Paul Jackson’s Watercolor
Workshop: New Perspectives in the Landscape
Radiant Oils By Arleta Pech
Save 10% on your purchase of these titles and more when you use code
ARTPUB10 during checkout in the North Light Shop.
TAKE ANOTHER LOOK | Favorites from North Light
Abstract Explorations in
Acrylic Painting, Jo Toye
Archisketcher, Simone Ridyard
Oil Painting Techniques: How to
Paint Water, Craig Nelson
Jean Haines’ Watercolor Animals
Anniversary Edition, Nita Leland
Discover Oil Painting: Easy
Landscape Painting Techniques, Julie
Paul Jackson’s Watercolor
Workshop: Nighttime in the City
Painting the Figure in Pastel
with Alain Picard
Landscape Painting in Pastel
Landscape Painting in Pastel: Winter
Mood, Liz Haywood-Sullivan
These and many other North Light products are available at your favorite art & craft
retailer or bookstore. You can also order online at or by phone
at 1-800-258-0929. Online prices may differ on listed titles; prices are as marked on
store pages in the North Light Shop.
an imprint of F+W Media, Inc.
Road Test
By Birgit O’Connor
A New Paper for Watercolor
Legion Paper’s new line of paper, sized for watercolor, is Stonehenge Aqua.
LEFT: I enjoyed working loose with
Schmincke pan watercolors on the Stonehenge Aqua. The paper accommodates a
variety of techniques, so I could work loosely and, in other places, create more deliberate brushstrokes with a drier brush. The
paper also performed well when I glazed
(applied watercolor over a dried passage).
different kinds of paper whose origins
are in 16 different countries. Going
a step further, Legion says that if it
doesn’t have the kind of paper you
need or if it can’t find it for you, the
company will make it for you.
Adding to an already impressive inventory of papers, Stonehenge
Aqua is a 100-percent cotton paper. It
has a neutral pH; it’s acid and chlorine free; it’s white, and it’s sized for
watercolor. As of this date, the available paper sizes are 22x30 sheets (hotand cold- pressed) or blocks in sizes
of 7x10, 9x12, 10x14, 12x16, 14x20
and 18x24. (Legion will add largersize sheets and rolls in the future.)
One of the biggest advantages
of Stonehenge Aqua is its price point,
which makes it more affordable for
artists who will find they haven’t sacrificed quality for cost.
has been on the lookout to provide artists with the finest papers available. Having consulted artists as to their
needs, the company collaborates with some of the most
renowned paper mills in the United States, the United
Kingdom, Europe and Asia. With its motto, “We Are
Paper,” Legion considers itself the bridge between
paper mills and the creative artist.
At this time, Legion Paper offers more than 3,000
Paper is integral to all the effects possible in watercolor. Working with a
paper over a long period of time is the
best way to get to know how it will
react and what it can do. When you
try a new paper, no matter what your
level of experience, the results can be
completely different from what you
expect because of the paper’s rate of
absorption, its surface texture and,
Rocks and Waterfalls: Here I’m
working with the same basic composition of rocks and water in a loose style
with transparent Winsor & Newton
tube watercolors on 140-lb. coldpressed (slightly textured, top left)
and 140-lb. hot-pressed (very smooth,
bottom left) paper.
On Papermaking However
paper is made, by hand, in a mold
or by a machine, the process is
basically this: A watery mixture
of rag fibers or ground wood pulp
is laid on a screen and agitated.
The wet fibers then merge, starting to resemble felt, as they come
together to make a sheet. Then the
sheet is removed from the screen
so it can dry. If the papers are
stacked, a kind of blanket is put
on top of each sheet; the texture
of the blanket imparts a texture to
the surface of the paper. Then the
papers are pressed between rollers. Papers pressed between cold
rollers are cold pressed (ending up
lightly textured); papers pressed
between hot rollers are called hot
pressed (ending up very smooth). A
paper that is not pressed between
rollers ends up heavily textured and
is called rough.
The best papers come from cotton and linen fibers; rice papers,
also very good, are made not from
rice but from mulberry and other
vegetable fibers. All high-quality
papers are acid free.
among other things, the kind and
degree of sizing.
Stonehenge Aqua has both internal and external sizing, and unlike
some other brands, the paper has no
smell when wet, so for some people
this will be a huge plus. Sheets come
with two deckled edges and two cut
edges, but the paper is easy to tear if
you want more deckling.
To give Stonehenge Aqua 140-lb. CP
(cold-pressed) and 140-lb. HP (hotpressed) a good test, I fi rst taped the
edges with artist tape. hen, using
flat brushes and a looser painting
style, I created a basic composition
of rocks and waterfalls (See Rocks
and Waterfalls, above). Both the
cold-pressed and hot-pressed papers
reacted very well to this looser technique. he surface of the paper is soft
and the sizing is consistent. he coldpressed paper has a light texture with
no heavy weave or deep pits. I found
that you can apply color in smooth
washes or as intentional brushstrokes.
After I’d finished painting, I
removed the artist tape and found the
paper had a tendency to tear more
easily than I would have liked, but
I think not pressing as hard when I
secured the tape and/or using painter’s tape rather than artist tape would
resolve this issue.
After all, it all depends on your
painting style, and every watercolorist has his/her own preferences and
ways of working: that’s what makes
watercolor so variable and watercolor
techniques so numerous. It’s a cooperative relationship: the artist, the
watercolor, the paper.
If you’re an artist who likes to lift
MARCH 2017
Road Test
When painting florals, I
found the surface of the Stonehenge
Aqua paper a bit different from what
I’m used to, so I had to make a few
adjustments. For the 300-lb. coldpressed paper I thought a good test
would be to treat it as a harder-sized
paper by flooding one side, then letting the color run. The paper handled
the first layer of Winsor & Newton
tube watercolors (with the addition of
Daniel Smith Hansa yellow) well, and
I was able to get smooth washes, but
with its being more absorbent, the
puddling I expected wasn’t as evident;
hence, it wasn’t as easy to move the
color around. Nonetheless, with a
little more work and some spraying of
water on the surface, I was able to get
the effects I wanted.
It was fun taking advantage of the paper’s fairly quick water
absorption as I painted a picture of
my grandaughters’ guinea pigs with
Schmincke watercolors.
Paper Weights
A paper’s
weight is determined by weighing
500 sheets (a ream) of the same
kind of paper (that is, say, 500
sheets of 22x30-inch watercolor
paper). If a ream of cold-pressed
watercolor paper weighs 300
pounds, the paper is referred
to as “300-lb. cold-pressed
watercolor paper.”
color and rework paintings for awhile,
you may find that this paper does
not take the same level of abuse as
some other brands that have a higher
degree of sizing. If your painting style
requires puddles of water, you’ll find
the paper responds well, although
the Stonehege Aqua paper does have
What is sizing?
Sizing, a thin
solution, often a weak glue, affects
the paints’ bleeding or spreading
on the paper. Watercolor artists can
apply more sizing or soak the paper
to remove some of its sizing.
a tendency to absorb the paint and
water fairly quickly, so you may have
to work a bit faster.
Stonehenge Aqua reacted well when
I layered color and tried to build color
intensity; however, it was a little
challenging to get the darkest darks
that I like. Since the paper absorbs
watercolor more quickly than what
I’m used to, softening edges was a
little more difficult, as well.
When I tried traditional watercolor painting techniques, however, I
found it very easy to overlap color and
make brushstrokes visible.
In summary, I thoroughly
enjoyed working with Stonehenge
Aqua, and I would definitely use it
again, so it gets a thumbs up. his
affordable paper will work well for
many watercolor techniques and for
diverse painting styles—from realistic
and detailed to loose gestural; from
pouring washes to applying multiple
glazes. I suggest you give it a try.
To read more about Legion
Stonehenge Aqua paper, visit ■
BIRGIT O’CONNOR is the author of a number
of best-selling books on watercolor; find
them at Check out her
website at
of genius | 10
inspiring subjects
Shine a
on your art
Every artist strives to display their
masterpiece for the world to see—
here’s your chance to bring this fantasy
to life with Strokes of Genius 10:
Inspiring Subjects.
Winning art will be featured in North
Light Books’ hardbound showcase of
the best in contemporary drawing.
Infuse your artistic flair into this year’s
theme—Inspiring Subjects. Everything
from a rough contour sketch to intricate
drawings will be accepted. You may use
pencil, charcoal, Conté, crayon, pen, ink
or any dry medium that would be
considered a drawing.
Enter your art
by April 14, 2017
For more information or to enter online:
Questions? Email:
Credits: Ady (detail) by Mike Barret Kolasinski. Screened back: Let’s Go Home (detail) by Annette Randall,
The Blue Motorcycle (detail) by J. Kay Gordon, Minotaur (part 1) (detail) by Albert Ramos Cortes
At whatever stage you are in your career, there’s a class, a
workshop, a tour, or a program that can inspire, edify and delight.
From Alaska to Mexico, from Missouri to Japan; in person or online;
for a week or a semester: there’s something for everyone here.
Museum, Talladega, Alabama. Members $350,
Non-members $380.
Contact: Jaceena Shepard, 256/810-9240
Huntsville Museum of Art
2/3-2/4/17, Huntsville. Jean Hess, Challenging Collage.
3/16-3/19/17, Huntsville. Kathy Durdin, Loosening Up &
Seeing Color Everywhere: Watercolor Portraits.
3/23-3/25/17, Huntsville. Qiang Huang, Still Life Oil
4/3-4/7/17, Huntsville. Mel Stabin, Watercolor: Simple,
Fast and Focused!
8/24-8/26/17, Huntsville. Michael Story, Understanding
Skies & Reflections: Landscape Painting in Oil or Pastel.
9/15-9/16/17, Huntsville. Gary Chapman – CHARCOAL:
Expressive Mark Making, A Painter’s Approach to
10/2-10/6/17, Huntsville. Brian Bomeisler, Drawing on
the Right Side of the Brain.
10/9-10/12/17, Huntsville. Tony Couch, Watercolor
11/8-11/11/17, Huntsville. Liz Haywood-Sullivan,
Pastels – Inside/Outside: The Best of Both.
Contact: Laura E. Smith, Director of Education/Museum
Academy, 256/535-4350 x222 or
Arizona-Sonora Desert Museum
Mel Stabin
Madeline Island School of the Arts
4/3-4/7/17, Huntsville. Watercolor: Simple, Fast, and
Focused. Sponsored by Huntsville Museum of Art.
All levels.
Contact: Laura Smith, 256/535-4350 ext. 222 or
2/20-2/24/17, Tanque Verde Ranch. Fabio Cembranelli.
2/27-3/3/17, Tanque Verde Ranch. Mel Stabin.
3/6-3/10/17, Tanque Verde Ranch. David Lobenberg.
Contact: 715/747-2054,
Michael Story
4/12-4/15/17, Phoenix.
Contact: Sheila Belland, 520/350-2577
11/14-11/17/17, Tucson. Nov. 13 Demonstration.
Contact: Robbie Summers, 520/818-0817 or
8/24-8/26/17, Huntsville. Huntsville Museum of Art.
Master Artist Workshop in Oil or Pastel. Join us as we use
the sky and water as a dramatic design element in your
painting’s composition.
Contact: Laura Smith, 256/535-4350 or
Watercolor Society of Alabama
4/6-4/8/17, Talladega. 76th Annual National Exhibition
Workshop. Instructor: Awards Judge Ming Franz,
presenting “Splash Ink with Watercolor”. Heritage Hall
The Art Institute of the Arizona-Sonora Desert Museum
focuses on bringing people closer to natural history
through meaningful art experiences. The Art Institute
inspires conservation through art exhibits, various visual
art classes and a permanent art collection highlighting
the flora, fauna, and landscapes of the Sonoran Desert
Region. Located within the Desert Museum’s award
winning grounds, students have botanical gardens, a
natural history museum, zoo, and aquarium just steps
outside their classroom. With master workshops, artist
lectures, live animal experiences and more, the Art
Institute offers quality education in an unparalleled
Caroline Jasper
7/31-8/8/17, Phoenix. 3 and 6 hr workshops. Art
Unraveled - various workshops in acrylics and multimedia. Sponsored by Phoenix Rising Productions.
Contact: or
Birgit O’Connor
Susan Ogilvie, PSA
4/17-4/21/17, Scottsdale. Landscapes in Pastel.
This studio class will focus on design and composition,
while emphasizing the freedom in color choices.
Contact: Scottsdale Artists’ School, 800/333-5707
Camille Przewodek
3/13-3/17/17, Scottsdale. 5-Day Plein-Air Workshop:
Spring Training—Color Boot Camp at Scottsdale Artists’
School. Discover and develop a new way of seeing
and painting color. All levels, oil preferred. Color that
expresses the light key of nature can make any subject
strikingly beautiful. Plein-air still life, landscape, head
& figure.
Contact: Registrar, Scottsdale Artists’ School,
William A. Schneider, AISM, IAPS-MC,
1/30-2/2/17, Scottsdale.
Revealing the Soul: Creating Sensitive Portraits in Pastel.
Scottsdale Artists’ School.
Contact: 800/333-5707,
Sedona Arts Center
4/10-4/14/17, Fealing Lin, Portraits and People. Portrait
painting can be very intimidating especially when using
watercolor. Fealing Lin, combines semi -abstract strokes
and impressionistic concepts to elicit life and movement
in her portrait and figure paintings. Each day of the
workshop there will be a lecture, an exercise and a demo.
4/15-4/17/17, Elizabeth St. Hilaire, Paper Painting.
Paper Painting – Birds and Blooms is an intense
workshop in which students are taught a unique
figurative collage technique. Students will learn to make
a beautiful palette of colors with various papers and
create an under-painting and collage with paper for a
final finish.
4/18-4/21/17, Carl Dalio, Energized Watercolor. Learn
to transform static sketches and reference images
into inspired, passion-filled paintings with rich and
stimulating color. Award winning artist, Carl Dalio, will
show you how to create paintings that not only get into
exhibitions but win awards. Demonstrations, individual
attention and quality painting time.
5/1-5/4/17, Kathryn Stats, Plein Air in the Studio.
Kathryn Stats is known for her vibrant color, dramatic
compositions and subtle brushwork. In this studio
workshop students will have the opportunity to choose
whether they wish to work on landscape composition
from photo-reference or with a still-life/fl oral situation
or both!
5/5-5/7/17, Bill Cramer, Grand Canyon Plein Air. Painting
from the south rim of the Grand Canyon we will learn
how to effectively translate the often complex three
dimensional landscape onto a two dimensional plane
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
using thumbnail sketches, limited palettes and the
thoughtful use of colors, values, shapes, edges and
5/8-5/11/17, Jan Sitts, Texture, Color, Feeling. Jan’s
experience and enthusiasm create an atmosphere of fun
and spontaneity inspiring new directions and discovery
through innovative combinations of design and materials.
By combining aggressive textures and unusual mediums
with various “raw” materials surprising compositions
5/12-5/14/17, Julie Gilbert Pollard, Wet and Wild. Learn
how to make water look wet, reflective and splashy!
With intimate woodsy creeks as your model, study
water in motion and glassy reflection. Techniques will
be demonstrated to address the various puzzles artists
confront. Offered with strategies for Oil, Acrylic and
5/15-5/18/17, Ned Mueller, The Art of Seeing. Most
paintings are ruined at the start, not at the end, as not
enough preliminary thought is given to them. Students
will work on color harmony and the balance of masses
and shapes in size, value and color. Ned will also have
a large assortment of his own photos that students may
work from.
5/15-5/19/17, Robert Burridge, Contemporary Figurative
Retreat. Learn to work with the nude, draped and
partially draped model, lots of paint sketching, gestural
drawing and painting techniques. Be prepared to paint
looser, bolder, freer, lighter and more intuitively. Plenty
of time for action-filled painting exercises, demos and
personalized attention.
Multiple Dates, 2017, Richard Drayton, Colored Pencil
Adventure. 3-day workshop teaches the secrets of
creating high performance art with Prismacolor fine art
pencils. Award winning artist and illustrator Richard
Drayton will guide students through step-by-step
techniques that will result in rich blended colors and
powerful composition.
Contact: 928/282-3809 or 888/954-4442
Over 100 art workshops each year with nationally known artists.
Painting from the Rim
of the Grand Canyon
with Bill Cramer
May 5–7, 2017
Mel Stabin
2/27-3/3/17, Tucson. Watercolor: Simple, Fast, and
Focused. Sponsored by Madeline Island School of the
Arts. All levels.
Contact: MISA Registrar, 715/747-2054 or
Art In The Mountains
3/25-3/27/17 and 3/29-3/31/17, San Francisco. Alvaro
Castagnet, “The Pillars of Watercolor!”, plein air.
Intermediate to Advanced Outdoor Painters. Seeking
answers and understanding? This workshop will explain
all aspects of successful painting using frequent
demonstrations and detailed analysis. We will explore
a range of subject including composition and design,
effectively using light and dark values, color mixing,
edges, brush stroke techniques and much more.
7/11-7/13/17, Laguna Beach. Mary Whyte, “Portrait and
Figure”, watercolor - studio. All levels welcome. Explore
the wonders of watercolor with an inspirational three-day
workshop in Laguna Beach California. Mary will cover
the fundamentals of getting a likeness, planning dynamic
compositions, mixing clean colors, achieving value
balance and creating paintings with emotion. Her daily
demonstrations from life and one-on-one assistance will
guide you to making your best paintings ever.
9/11-9/15/17, Monterey. David Taylor, Staying Afloat in
Contact: Tracy Culbertson, 503/930-4572 or
Blick Art Materials
4/24-4/28/17, San Diego. The Importance of Neutral
Coloration in Developing a Painting Scheme. Blick
Art Materials and Utrecht Art Supplies are pleased to
present another outstanding educational program at the
2017 Plein Air Convention. Join Blick/Utrecht Resident
Artist Joe Gyurcsak for a lecture and demonstration
about the importance of developing neutral, nondescript
color mixtures in plein air paintings. Learn how neutral
color mixtures literally set the tone of a painting’s
atmosphere. During the lecture, Gyurcsak will present
examples of previous plein air studies, create a painting,
and answer questions.
Robert Burridge
2/1-2/5/17, Arroyo Grande. Robert Burridge 5-Day
Instructional Studio Workshop. 5-day Workshop in Bob’s
Arroyo Grande, CA Studio (Wednesday-Sunday).
2/27-2/28/17, Palm Desert. Abstract Acrylic Painting
& Collage. 2-day Painting Workshop (Monday-Tuesday).
Venus Studios Art Supply, 44850 Las Palmas Ave, Ste
D, Palm Desert, CA 92260.
Contact: 760/340-5085,
3/1-3/3/17, Palm Desert. Larger & Looser! 3-day Painting
Workshop (Wednesday-Friday). Venus Studios Art Supply,
44850 Las Palmas Ave, Ste D, Palm Desert, CA 92260.
Contact: 760/340-5085,
MARCH 2017
3/9-3/12/17, Arroyo Grande. Robert Burridge Studio
Mentor Workshop. Come paint with Bob in his Studio
(includes individual mentor time, demonstrations and
personal theme development). 3.5 days Workshop/
Mentor Program, limited to 7 enrollees.
Tony Couch
3/13-3/16/17, Cambria.
Contact: 678/513-6676,
Annie O’Brien Gonzales
2/12/17, San Jose. Expressive Mixed Media Floral
Painting, A Work of Heart.
Caroline Jasper
2/20-2/21/17, Palm Desert. 2 Day Workshop: Powercolor
Painting. Oils, acrylics, water-soluble oils.
Sponsored by Venus Studios Art Supply.
Contact: 760/340-5085, or
2/22-2/24/17, Palm Desert. 3 Day Workshop: Explosive
Skies. Oils, acrylics, water-soluble oils.
Sponsored by Venus Studios Art Supply.
Contact: 760/340-5085, or
Robbie Laird
6/18-6/23/17, Creative Rhythms Retreat. See Robbie’s
website for details of this exciting New Workshop!
Amy Lindenberger
4/8-4/9/17, Livermore. Colored Pencil. “Combining
Watercolor Pencil with Colored Pencil” and “Using
Colored Pencil on Black Surfaces” led by widely
acclaimed colored pencil artist and author of several
colored pencil books. All levels. Enroll in one ($150) or
both ($250). Some discounts may apply.
Contact: Paula, 510/276-7522,
National Watercolor Society
5/22-5/24/17, San Pedro. Bob Burridge, ISAP, PWS,
Improvisational Watermedia-Contemporary
Materials For Contemporary Times.
10/23-10/25/17, San Pedro. Geoffrey McCormick, NWS,
AWS, Lifetime of Tips, Tricks & Techniques &
How to Apply Them to Your Art.
Contact: 760/908-3389,
Birgit O’Connor
2/6-2/10/17, Calistoga, Napa Valley. Within the Flower.
Contact: Birgit O’Connor, 415/868-0105
2/11-2/14/17, Calistoga, Napa Valley. Atmospheric Land
and Seascapes, includes boats & water.
Contact: Birgit O’Connor, 415/868-0105
5/15-5/18/17, Concord. CWA Workshops. Workshops are
held at California State University, Concord Campus.
Contact: Sally Noble,
7/30-8/4/17, Mendocino. Mendocino Art Center.
Contact: 707/937-5818,
Camille Przewodek
January-December, 2017, Petaluma. In addition to my
5-day workshops, I teach regular weekly classes, and
occasional weekend workshops at my Petaluma studio
in Northern California. Mondays with Camille is an
ongoing landscape and still life class. View an up-todate schedule on the Classes & Workshops page at my
5/8-5/12/17, Petaluma. 5-Day Plein-Air Workshop/Color
Boot Camp. Discover and develop a new way of seeing
and painting color. All levels, oil preferred. Color that
expresses the light key of nature can make any subject
strikingly beautiful. Plein-air still life, landscape, head
& figure.
Contact: Camille, 707/762-4125 or
8/7-8/11/17, Petaluma. 5-Day Plein-Air Workshop/Color
Boot Camp. Discover and develop a new way of seeing
and painting color. All levels, oils preferred. Plein-air still
life, landscape, head & figure.
Contact: Camille, 707/762-4125 or
The San Diego Watercolor Society
2/13-2/17/17, (Mon-Fri). Barbara Nechis, Watercolor
from Within: Techinques for Painting the Essence of
Nature. Watercolor. Beginner to Advanced.
4/11-4/14/17, (Tues-Fri). Bruce Handford, Fast and
Loose. Watercolor. Intermediate to Advanced.
5/8-5/11/17, (Mon-Thu). Ted Nuttal, Painting People
from Photographs. Watercolor. All Levels.
6/13-6/16/17, (Tue-Fri). Karen Knutson, Painting
Figures with Exciting Textures. Acrylic. Intermediate to
7/11-7/14/17, (Tue-Fri). Nancy Barch, Expressive
Techniques in Mixed Watermedia. Mixed Media.
All Levels.
8/7-8/11/17, (Mon-Fri). Katherine Chang Liu, Critique
and Open Studio Painting. Watercolor. Intermediate to
11/14-11/17/17, (Tue-Fri). Iain Stewart, From Sketchbook
to Studio - Painting Light in Watercolor. Beginner to
Tony Couch
6/26-6/29/17, Parker.
Contact: 678/513-6676,
Annie O’Brien Gonzales
8/15-8/17/17, Telluride. Painting with Matisse.
Ahaha School of Art.
Tom Lynch
9/11-9/14/17, Beaver Creek.
Contact: 630/851-2652 or
Quiller Gallery
6/3-6/9/17, Creede. Experimental Water Media.
4 UR Ranch, PO Box 340, Creede, CO 81130.
Contact: Robin Christensen
719/658-2202 or Fax 719/658-2308 or
7/31-8/3/17, Evergreen. Color & Water Media-Center for
the Arts Evergreen, PO Box 2737, Evergreen, CO 80437.
Contact: Stephanie O’Malley, Director of Education,
8/16-8/26/17, Creede. Intensive Color & Water Media.
Quiller Gallery, PO Box 160, Creede, CO 81130.
Wait list.
Contact: Marta Quiller, 719/658-2741
9/24-9/30/17, Creede. Water Media Plein Air4 UR Ranch, PO Box 340, Creede, CO.
Contact: Robin Christensen, 719/658-2202
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cultivated and to provide high quality learning resources for visual artists. Coulter
Prehm, painter and founder of Renaissance Life, has created a series of painting and
drawing videos exploring the subjects of portraiture, landscape, still life, and even
tattoo time-lapses as well. Get the tools you need to begin creating beautiful,
structural drawings and paintings from observation. The website’s video archive
will be updated regularly so keep coming back to benefit from new productions!
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
Mel Stabin
5/19-5/21/17, Guilford. Watercolor: Simple, Fast, and
Focused. Sponsored by Suzanne Siegel Studio. All levels.
Contact: Suzanne Siegel, or
Tom Lynch
10/3-10/6/17, Rehoboth Beach.
Contact: 630/851-2652 or
Robert Burridge
2/13-2/17/17, Sarasota. Abstract Acrylic Painting &
Collage. 5-day Painting Workshop (Monday-Friday). Art
Center Sarasota, 707 N. Tamiami Trail, Sarasota, FL
34236. Demo: Sunday, February 12, 1-3 pm.
2/18-2/19/17, Sarasota. Abstract Acrylic Painting &
Collage. 2-day Painting Workshop (Saturday-Sunday).
Art Center Sarasota, 707 N. Tamiami Trail, Sarasota, FL
Contact: Elizabeth Goodwill, Education Director,
941/365-2032, or
Tony Couch
1/23-1/26/17, Punta Gorda.
Contact: 678/513-6676,
Englewood Art Center | Ringling College of
Art + Design
3/10, 3/17, 3/24, 3/31/17, Oil Painting | In and Out
of the Studio with Johan Bjurman. Fridays, 9:30am 12:00pm. Member: $90 (4-class series), Non-member
$115 (4-class series). Using photographs and/or fields
studies, students will learn the necessary skills and
techniques for accomplishing a successful oil painting. If
you would like to build your skillset or move toward plein
air style painting, this class is the class for you. Johan
will share his vast knowledge of painting techniques, as
well as give you tips for finishing a plein air painting in
the studio or moving your painting practice out of the
studio into plein air.
3/15-3/17/17, Osprey. Plein Air Painting Workshop with
Bill Farnsworth at Bay Preserve of the Conservation
Foundation (Osprey, FL). Wednesday-Friday. Member
& Non-member: $400. Ringling College Alum and
nationally renowned illustrator turned fine art painter Bill
Farnsworth will be teaching a 3-day plein air painting
workshop on the serene and beautiful grounds of Bay
Preserve of the Conservation Foundation. Bill’s work
is included in public and private collections and he is
represented by several galleries throughout the United
States. His paintings have won numerous awards and
he travels throughout the country and abroad sharing
his knowledge and passion for painting and particularly
the heart of plein air painting--capturing the light. This
3-day plein air painting workshop will give participants
an opportunity to see Bill create a demo plein air painting
each day while learning techniques and skills to improve
choices and edits to create plein air paintings full of
light. Students will gain a greater understanding of the
principles of painting through this workshop.
Contact: 941/474-5548,
Robbie Laird
Mel Stabin
5/13-5/16/17, Melbourne. Brevard Watercolor Society.
Layered Watermedia.
Contact: Brenda Hutchinson or
8/21-8/24/17, Norcross. Watercolor: Simple, Fast, and
Focused. Sponsored by Kudzu Art Zone Gallery and Art
Center. All levels.
Contact: Sherry Robinson, 770/840-9844 or
Tom Lynch
2/6-2/9/17, The Villages.
2/16-2/18/17, Lake Park.
2/28-3/3/17, Santa Rosa Beach.
11/14-11/17/17, Quincy.
12/11-12/14/17, Palm Beach.
Contact: 630/851-2652 or
Spring 2017, Savannah. Plein air workshop during the
height of garden season in Savannah, Georgia. Stay in
the historic district and paint this quaint southern town
at the peak of its spring bloom.
Contact: Nan Dawkins, 954/663-7250
Tony Couch
4/3-4/6/17, Dawsonville.
5/15-5/18/17, St. Simons Island.
Contact: 678/513-6676,
Tom Lynch
3/14-3/17/17, Albany.
Contact: 630/851-2652 or
Kristy Kutch Colored Pencil Workshop
2/28-3/2/17, Kailua-Kona (on the Big Island). Colored
Pencil: Vivid and Versatile; colored pencil/watercolor
pencil workshop. Sponsored by Akamai Art Supply.
Cost $295.
Contact: Johanna or staff, 808/334-0292 or
Mel Stabin
2/13-2/16/17, The Villages. Watercolor: Simple, Fast, and
Focused. Sponsored by the The Villages Art Workshops.
All levels.
Contact: Beverly Hennessy, 352/753-1383 or
Michael Story
8/14-8/16/17, Winter Park. Crealde School of Art.
Mastering Skies & Reflections in Oil or Acrylic. Join us as
we use the sky and water as a dramatic design
element in your painting’s composition.
Contact: Barbara Tiffany, 407/699-0148 or
The full program will be available January 1, 2017
Cerulean Blue Enterprises
William A. Schneider, AISM, IAPS-MC,
5/5-5/8/17, Crystal Lake. Start to Finish - Creating a
Complete Oil Painting.
Contact: Schneider Studios, 815/540-3121
Transparent Watercolor Society of America
6/5-6/9/17, Chicagoland/Kenosha.
Jean Pederson, “Luscious Wet Portraiture”.
6/5-6/9/17, Chicagoland/Kenosha. Bruce Handford,
“Light and Shadow in Rural/Cityscape”.
In-depth one week workshops held in Bennington VT., taught by accomplished and generous artist/teachers.
Courses in painting, drawing, printmaking, book making, ceramics and sculpture.
Week One
July 16–22
Week Two
July 23–29
Week Three
July 30–August 5
For questions please contact Nancy McCarthy: or 617-879-7175
MARCH 2017
6/12-6/16/17, Chicagoland/Kenosha.
Jean Pederson, “Wet Glazing Stills and Florals”.
6/12-6/16/17, Chicagoland/Kenosha.
Bruce Handford, “Bold and Fresh Water/Landscape”.
Contact: Vickie, 262/484-1261 or
Kristy Kutch Colored Pencil Workshop
4/24-4/26/17, Donaldson (near Plymouth). Exploring
Colored Pencil Potential; colored pencil and watercolor
pencil. Sponsored by Moon Tree Studios, part of The
Center at Donaldson. Cost $250 for members, $275
for non-members; includes daily lunches. Inquire about
lodging option.
Contact: Evie, 574/935-1712 or
Camille Przewodek
9/25-9/28/17, New Harmony. Discover a New Way of
Seeing Color. This 4-day, plein-air workshop introduces
a way of seeing and using color to paint the light key—
capturing the time and type of day through accurate color
relationships. All levels, oils preferred.
Contact: Maggie Rapp, 812/459-9851
Art In the Mountains
3/6-3/8/17, New Orleans. Mary Whyte, The Best of
Watercolor, studio. Join Mary Whyte for an extraordinary
workshop in watercolor in New Orleans, LA. Paint clothed
models. Mary will demonstrate and guide you through
the techniques of planning your compositions, drawing,
mixing color and creating great backgrounds. She will
show you how to work with the model, avoid mistakes
and give personal critiques and great tips for marketing
your work.
Contact: Tracy Culbertson, 503/930-4572 or
Tom Lynch
4/25-4/28/17, Metairie (New Orleans).
Contact: 630/851-2652 or
Coastal Maine Art Workshops
All Classes are in Rockland ME unless otherwise noted!
7/10-7/14/17, Belfast. Mel Stabin AWS NWS, Watercolor:
Simple, Fast and Focused! WC. Int/Adv.
7/17-7/21/17, Michael Chesley Johnson PSA, Painting the
Maine Landscape! Pastels or Oils. All levels.
7/24-7/28/17, Larry Moore, Painting Plein Air with
Purpose! Oils. All levels.
7/31-8/4/17, Belfast. Tony Van Hasselt AWS, Watercolor
Workshop. WC. All levels.
8/8-8/11/17, Portland. (4 Days) Alvaro Castagnet,
Painting with Passion! WC. Int/Adv.
8/14-8/18/17, Don Andrews AWS, Landscape: Color and
Composition! WC, All Levels.
8/21-8/25/17, Mike Bailey AWS NWS, Plein Air
Landscape! WC. All levels.
8/28-9/1/17, Chris Cart, Speaking With Your Brush! WC,
8/28-9/1/17, David P. Curtis, Plein Air Landscape! Oils.
All levels.
9/4-9/8/17, John Wilson, The Plein Air Landscape!
Week One. Oils. Int/Adv.
9/11-9/15/17, Andy Evansen, The Impressionistic
Landscape. WC. Int/Adv.
9/11-9/15/17, John Wilson, The Plein Air Landscape!
Week Two. Oils. Int/Adv.
9/18-9/22/17, Colin Page, Polish Your Tools! For the
Experienced Painter. Oils. Int/Adv. Registration for this
class is closed.
9/25-9/29/17, Colley Whisson, The Modern
Impressionistic Landscape. Oils. All levels.
Contact: Lyn Donovan, Director, 207/594-4813 or
Marjorie Glick
6/11-6/16/17, Stonington. Watercolor Plein Air: Color
and Light. This magical coastal landscape is an artists’
paradise! Stretch your perception of how you see, think
about, and paint the landscape by learning new ways of
interpreting it with color and composition. Express your
ideas using watercolor’s elusive qualities of spontaneity
and transparency. Expand what you know through
individual mentoring. Daily demonstrations, ample
time for painting, individual guidance and critiques are
included. Stonington, Maine is 90 minutes by car from
Bangor, Maine airport.
7/9-7/13/17, Orrs Island. Watercolor Plein air all levels.
Orrs Island is a wonderful place to paint because of its
varied scenery of quiet coves, rugged coastline, and
quintessential New England buildings. Our lodgings have
spectacular views from the large porch of sunset and
water. Each morning begins with a demonstration that
addresses the specifics of the landscape at hand with
regards to color, composition, and paint handling. The
afternoons will be spent painting on your own with plenty
of individual guidance from Marjorie. Orrs Island is 30
minutes by car from Portland, Maine airport.
8/27-8/31/17, Stonington. Watercolor Plein Air. This
magical coastal landscape is an inspiring place to paint
and sets the stage for you to have a wonderful artistic
experience with an accomplished artist who loves to
teach. This workshop is geared towards all levels and
will focus on how color and paint handling can be used
to create your own interpretation of the specifics of
the landscape. Daily demonstrations, ample time for
painting, individual guidance and critiques are included.
Stonington, Maine is 90 minutes by car from Bangor,
Maine airport.
Mel Stabin
7/10-7/14/17, Belfast. Watercolor: Simple, Fast, and
Focused. Sponsored by Coastal Maine Art Workshops.
All levels.
Contact: Lyn Donovan, 207/594-4813 or
Caroline Jasper
4/3-4/7/17, Havre de Grace. 5 Day Workshop: Powercolor
Painting Retreat. Oils, acrylics, water-soluble oils.
Sponsored by Caroline Jasper Studio.
Contact: 410/459-3915 or
Creative Arts Center in Chatham
3/18-3/19/17, Paul Schulenburg, Oil. (Sat-Sun). Working
from a live model, Paul will demonstrate his approach to
creating a convincing figure painting. Students will learn
the importance of composition and color.
The Englewood Art Center is the arts destination for the 2017
season on the Gulf Coast of Florida. EAC has a spectacular
line up of classes, workshops, exhibitions and events,
emphasizing the landscape, lifestyle and leisure of this very
special creative outpost.
Plein Air with Bill Farnsworth |
Exhibition and Workshop
At Bay Preserve of the Conservation
Foundation (Osprey, FL)
Exhibition: March 1 through April 28, 2017
Workshop: March 15 – 17, 2017*
In the Mitchell Gallery
Nature: Places of Spiritual Sanctuary | Clyde Butcher
Open to the Public through March 8, 2017
Artist Talk | Tuesday, February 7, 2017, 6 pm
*limited seating, ticket purchase required
Open Call Exhibitions in the Loranger Gallery
Reception: March 21, 2017
*registration required
Please visit:
for more information.
350 S McCall Rd,
Englewood, FL 34223
941.474.5548 |
Beaches, Backroads and the Bay | Receiving: Saturday, January 28, 2017
Artwork by Carla Malmquist, Sunset Pelicans
Sports and Leisure | Receiving: Saturday, March 11, 2017
Find us on
Saturday, February 4, 2017, 11 am – 4 pm
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
4/1-4/2/17, William Davis, Oil Studio. (Sat-Sun).
Along with demonstrating each day, Bill will help
students find the subject and enhance the view for a
winning composition.
6/6-6/9/17, Andy Evansen, Watercolor Studio. (Tues-Fri).
Students will learn to simplify a scene into larger shapes
that will help them paint more boldly, leading them on a
path to painting impressionistic watercolors.
6/14-6/16/17, Carol Maguire, Oil Studio. (Wed-Fri).
Observing directly from life you will learn how to capture
the light and apply paint boldly, with lots of personal
attention in this instructional and spirited workshop!
6/19-6/21/17, Kathy Anderson, Oil Plein Air & Studio.
(Mon-Wed). Painting beautiful spring gardens, students
learn to simplify the scene, paint one image over
two days, design floral still lifes with movement and
successfully finish a painting.
6/22-6/25/17, Don Demers, Oil Plein Air. (ThursSun). Following Don’s daily demos, this workshop
will emphasize all of the fundamentals of good
draftsmanship, design, composition, color, value and
brush techniques as students tackle landscapes.
6/26-6/29/17, Daniel Keys, Oil Studio. (Mon-Thurs).
After daily demos, students will paint still life while
receiving one-on-one instruction. In this intensive
workshop, learn insight into composition, drawing, color,
value and edges.
9/6-9/9/17, Frank Eber, Watercolor. (Wed-Sat).
The techniques learned in this workshop transcend
the watercolor medium, as Frank shares advanced
techniques to create atmosphere, balance and unity in
your work.
9/11-9/14/17, Bill Farnworth, Oil Studio & Plein
Air. (Mon-Thurs). While painting plein air & taking
photographs, Bill teaches how to “edit in the field” and
capture the values and color that a camera can’t see.
9/18-9/22/17, Lois Griffel, Oil Plein Air. (Mon-Fri). An
approach to seeing local color and values using color
masses & mixing, students develop and expand their
artistic vision with Lois’ approach to color and light.
10/21-10/22/17, William Davis, Oil Studio. (Sat-Sun).
Along with demonstrating each day, Bill will help
students find the subject and enhance the view for a
winning composition.
Contact: 508/945-3583,
Northeast Art Workshops
5/1-5/5/17, Jeff Hirst, Printing Workshop.
5/15-5/19/17, Mark Mehaffey, Watercolor.
5/22-5/26/17, John Salminen, Watercolor.
6/6-6/9/17, Paula Roland, Encaustic.
6/19-6/23/17, Sterling Edwards, Watercolor.
6/26-6/30/17, Keiko Tanabe, Watercolor.
7/17-7/19/17, Barbara Nechis, Watercolor:
Abstract designs.
9/6-9/8/17, Lorraine Glessner, Mixed Media Encaustic.
9/11-9/15/17, Birgit O’Connor, Watercolor: Big & Bold.
9/18-9/22/17, Katherine Chang Liu, Mixed Media.
9/25-9/29/17, Patti Mollica, Acrylic & Oil.
10/2-10/6/17, Lisa Pressman, Encaustic.
10/9-10/13/17, Jeannie McGuire, Watercolor:
Uniquely Contemporary.
10/16-10/20/17, Eric Wiegardt, Watercolor:
Fast & Loose.
Contact: 978/729-4970
Birgit O’Connor
9/11-9/17/17, Gloucester. Northeast Art Workshops.
Contact: Kat Masella, 978/729-4970
Susan Ogilvie, PSA
9/19-9/21/17, Falmouth. Landscapes: Color, Value and
Design. This studio and plein air class will focus on
design and composition, while emphasizing the freedom
in color choices. Field studies and studio painting on
Cape Cod.
Contact: Falmouth Artists Guild, Suzy, 508/540-3304
Michael Story
7/12-7/14/18, Lowell. Franciscan Life Process Center.
Mastering Skies & Reflections in Oil or Acrylic. Join us as
we use the sky and water as a dramatic design element
in your painting’s composition.
Contact: Kathleen Bechtel, 616/897-7842 (352) or
The Franciscan Life Process Center
Located on 230 acres of farmland, the Franciscan Life
Process Center is a gentle, reflective retreat destination
that leaves guests feeling renewed. The comfortable
rooms at the Center are half the cost of a hotel, and there
is a large kitchen where guests can cook meals. The Art
School in Lowell, MI has a wonderful lineup of workshop
presenters teaching in a variety of media. A few of the
important artists scheduled in 2017 include: Joyce
Hicks, Andy Evanson, Robert Spooner, Jeffrey Hein,
Qiang Huang, Marc Hanson, Bryan Mark Taylor, Bryce
Liston, Juan Jr. Ramirez, Henry Yan, Mark Daniel Nelson,
Roger Dale Brown, and Mary Qian.
Find the workshops at:
then Services, then Art Program.
Chris Unwin
Watercolor Workshop Weekly Tuesdays & Wednesdays.
West Bloomfield, MI 48322
4/3-4/6/17, Soon Warren.
Contact: Chris Unwin, 248/624-4902 or
Frederick D. Somers IAPS-MC/Eminent
Pastellist, PSA, OPA
5/2-5/5/17, St. Paul. Pastels for the Joy of It.
4-day Paint pastels indoors with demos in and out.
Sponsor: Lake Country Pastel Society.
Fred is scheduling workshops 2017-18.
Contact: or
Kristy Kutch Colored Pencil Workshop
6/13-6/16/17, Grand Marais (north shore of Lake
Superior). Drawing and Painting with Colored Pencil;
colored pencil and watercolor pencil. Sponsored by
Grand Marais Art Colony.
Contact: Ruth or staff, 218/387-2737 or
Tony Couch
4/24-4/27/17, Branson.
Contact: 678/513-6676,
Robbie Laird
9/28-10/1/17, Kalispell. (MTWS). Layered Watermedia.
Contact: Margo Voermans,
Birgit O’Connor
8/15-8/18/17, Reno. August 19 Demonstration
(Public 1-3 pm.) Fearless Florals.
Contact: Tricia Leonard,
June 3 & 4 Work with this renowned artist and learn approaches to
painting that emphasize the sensuous yet thoughtful abstract construction of space. Color will be the focus as you paint from an expansive still
life environment.
June 14 – 16 Join esteemed PAFA faculty member Patricia Traub
in this unique bird-drawing workshop. Learn Old Master drawing
techniques while studying bird anatomy and feather structure from live
avian subjects.
June 19 – 23 Brooklyn-based painter and PAFA alumna Christine
Lafuente considers her paintings “poetic responses to visual experience.” Responding to the still life motif, learn to build an oil painting
directly, with the emphasis on color.
Contact us at continuing or 215-972-7632.
Christine Lafuente, Peonies and Peaches (detail), oil on linen, 12 x 12 in.
MARCH 2017
Susan Ogilvie, PSA
Wende Caporale
4/2-4/4/17, Florham Park. Landscapes: Color, Value
and Design. This studio class will focus on design and
composition, while emphasizing the freedom in color
Contact: Debarry Studio Ten, Christina, 973/525-2544
8/6-8/11/17, North Salem. Studio Hill Farm.
Portraiture Workshops in Oil & Pastel.
Contact: 888/890-9887 or 914/669-5653
Hudson River Valley Art Workshops
Mel Stabin
10/7/17, Fairfield. Watercolor: Simple, Fast, and
Focused. Sponsored by Art@1275 Studio & Gallery.
All levels.
Contact: Marian Jones, 201/747-5969 or
Michael Story
7/10-7/14/17, Island Heights. Ocean County Artists
Guild. Mastering Skies & Reflections in Oil or Acrylic.
Join us as we use the sky and water as a dramatic design
element in your painting’s composition.
Contact: Carol Ann Oporto, 732/504-7217 or
Flying Colors Art Workshops
October 2017, Santa Fe. Brenda Swenson, W/C
Sketchbook. All levels of instruction. Class size 20.
Contact: Cris Weatherby, 858/518-0949 or
Annie O’Brien Gonzales
4/27-4/30/17, Ghost Ranch, Abiquiu.
Georgia O’Keeffe Immersion Weekend.
5/20/17, Artisan, Santa Fe. Painting with Matisse.
9/14-9/17/17, Ghost Ranch, Abiquiu.
Georgia O’Keeffe Immersion Weekend.
10/26-10/29/17, Ghost Ranch, Abiquiu.
Georgia O’Keeffe Immersion Weekend.
Birgit O’Connor
7/17-7/21/17, Cloudcroft. Desert Roses and Rocks.
Cloudcroft Art Workshops.
Contact: Linda Shiplett, 915/490-5071 or
3/19-3/25/17, Lisa Pressman.
3/26-4/1/17, Susan Ogilvie.
5/7-5/13/17, Jane Davies.
5/17-5/21/17, Barbara Nechis.
5/21-5/27/17, Patti Mollica.
6/4-6/10/17, Robert Burridge.
6/18-6/24/17, Liz Kenyon.
6/25-7/1/17, Paul Leveille.
7/5-7/9/17, Paul George.
7/9-7/15/17, Tony van Hasselt.
7/16-7/22/17, Gerald Brommer.
7/23-7/29/17, David Daniels.
8/2-8/6/17, Alvaro Castagnet.
8/6-8/12/17, Kim English.
9/3-9/9/17, Self-Directed Retreat.
9/10-9/16/17, Ann Lindsay.
9/17-9/23/17, David Taylor.
9/24-9/30/17, Leah Lopez.
10/1-10/7/17, Skip Lawrence.
10/8-10/14/17, John MacDonald.
10/15-10/21/17, Fran Skiles.
Contact: 888/665-0044 or
Susan Ogilvie, PSA
3/27-3/31/17, Greenville. Landscapes with Pastels.
Field Studies and Studio Painting in the beautiful
Hudson River Valley.
Contact: Hudson River Valley Art Workshops
Pastel Society of America
PSA School for Pastels
National Arts Club, 15 Gramercy Park South,
New York, NY 10003
Contact: 212/533-6931 or
Enrich your paintings and study with these
masterful artists.
3/4-3/5/17, Spring Training for Peony Season with
Robert Palevitz PSA.
3/24-3/26/17, Color Confidence with
Jeanne Rosier Smith PSA.
4/2/17, Colorful Portraits from Life with
Wende Caporale PSA-MP.
4/23/17, Having Fun with Landscapes with
Elissa Prystauk PSA.
4/29-4/30/17, The Not So Still Life with
Peter Seltzer PSA-MP.
5/21/17, Trees Against Dramatic Skies with
Robert Carsten PSA-MP.
9/8-9/10/17, In-depth trees and rocks with
Albert Handell PSA-MP, Hall of Fame Honoree 1987.
9/18-9/20/17, Infusing Landscapes with Emotion with
Richard McKinley PSA-MP, Hall of Fame Honoree 2010.
10/14-10/15/17, Four Seasons of Trees with
Susan Story PSA.
Classes – ongoing year round:
Mondays, 9 am to 12 pm, Portraiture, Landscape, Still
Life with Diana De Santis PSA-MP.
Tuesdays, 6:30 pm to 9:30 pm, Introduction to Pastel
Still Life and Landscape with Janet Cook PSA.
Thursdays, 1 pm to 4 pm, Color & Composition
with Maceo Mitchell PSA-MP.
Mel Stabin
4/30/17, Manhattan. Watercolor: Simple, Fast, and
Focused. Sponsored by New York Open Center. All levels.
Contact: Registration Dept., 212/219-2527 or
10/10-10/12/17, Sugar Loaf. Watercolor: Simple, Fast,
and Focused. Sponsored by North East Watercolor
Society. All levels.
Contact: Richard Price, 607/637-3412 or
Robert Burridge
4/10-4/14/17, Raleigh. Abstract Acrylic Painting &
Collage. 5-day Workshop (Monday-Friday). Jerry’s
Artarama, Raleigh, NC.
Contact: Stacy Stover, Event Coordinator, 919/876-6610 or
William Jameson
2/16-2/18/17, Saluda. “Working Large Without Fear!”
This 3 day workshop will be an intensive exploration
of handling a large canvas. Leave your comfort zone
and enjoy working a little or lot larger than your usual
sizes. Become adept at making larger as well as better
Workshops In France 2017
All inclusive premier art retreats.
Paint and sketch side-by-side
with artists in Southern France.
All levels, all media.
Poppy Season - Chateau
retreat near Aix-en-Provence.
May 28 - June 6
Scotland - Highlands & Islands
Loch-side painting and cultural
tour. June 17 - 30
Learn painting essentials from popular art
instructor Johannes Vloothuis, as he shares his
Vineyards and Harvest
simple, effective approach for painting
Chateau retreat near Aix-enProvence. September 6 - 15
a variety of landscape elements. He can help
you become a better artist, no matter
your medium or skill level.
Sign up now!
818 621 2523
Small groups. Reserve your place now!
to register or for more information.
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
paintings and discover why some compositions are meant
to be small works and others translate beautifully into a
larger format. Participants may work in any or all media
and will receive a materials list upon registration.
Contact: Bill Jameson, 828/749-3101 or
5/11-5/13/17, Saluda. “Spring on the Blue Ridge”. This
three day plein-air workshop will be in and around the
historic town of Saluda. We will paint a variety of area
landscapes that will include waterfalls, beautiful Spring
foliage as well as farm land and vineyard activities.
Painters will work in their choice of oil, watercolor or
acrylic. Saluda’s Victorian homes and the area’s amazing
landscapes provide spectacular opportunities for
painting. Participants may work in any or all media and
will receive a materials list upon registration.
Contact: Bill Jameson, 828/749-3101 or
7/27-7/29/17, Cashiers. “Painting in Cashiers, NC”,
Mountain Mist Gallery. Escape the summer’s heat for 3
days and enjoy the cooler temps in the North Carolina
mountains! This workshop is sponsored by Mountain
Mist Gallery, located in the middle of the charming
village of Cashiers, and owner, David Berger is providing
a great studio for us inside the gallery. We will work
from photographic reference materials and learn how to
make the transition from photo to successful painting.
This workshop will include demonstrations, critiques
and one to one instruction in oil, acrylic or watercolor,
your choice of medium. Open to beginners to advanced,
this workshop will be limited to 8 participants and is
expected to fill quickly.
Contact: Bill Jameson, 828/749-3101 or
10/23-10/27/17, Saluda. “Fall on the Blue Ridge”.
This workshop consists of 5 painting days exploring the
landscape of the Southern Blue Ridge. Come join us
for our “Welcome party” the night before the workshop
begins. We’ll begin the workshop in the studio Monday
morning with talks and demonstrations, have an early
lunch (Dutch) at one of Saluda’s delightful cafes and
head out to paint. There isn’t a more beautiful time
to paint the Southern Blue Ridge landscape. Fall foliage,
waterfalls and winding streams provide spectacular
opportunities for painting and photography. Saluda’s
Main Street Historic District has been placed on the
National Register of Historic Places and her Victorian
summer homes, the area’s spectacular foliage, waterfalls
and winding streams provide unparalleled opportunities
for painting. The workshop is open for beginners to
advanced, with one to one instruction in watercolor, oil,
acrylic, and pen and ink sketching. Participants may
work in any or all media. A materials list will be sent to
all participants.
Contact: Bill Jameson, 828/749-3101 or
Caroline Jasper
6/19-6/23/17, Boone. 5 Day Workshop-Real to Radical
Color Expression. Oils, acrylics or other opaque media.
Sponsored by Cheap Joe’s Art Stuff.
Contact: 800/227-2788, or
11/9-11/12/17, Raleigh. 4 Day Workshops & Materials
Expo. Art of the Carolinas. Various 3-hr workshops in
oils, acrylics, water-soluble oils.
Sponsored by Jerry’s Artarama.
Contact: 919/878-6782 ext. 156 or
John C. Campbell Folk School
1/22-1/27/17, Pebbie Mott, Painting in Oils and Acrylics.
1/29-2/4/17, Bradley Wilson, Fearless Painting:
Adventures in Acrylic. $630.
2/5-2/11/17, Kathy Chastain, Watercolor for the True
Beginner. $630.
2/12-2/17/17, Billie Shelburn, Making Your Mark
with Sgraffito.
2/17-2/19/17, Virginia Urani, Get Your Feet Wet
with Watercolor.
3/5-3/10/17, Teri Jones, Alcohol Inks—An Illusion
of Control.
3/12-3/18/17, Annie Pais, Composing Dynamic
4/16-4/22/17, Ken Hobson, Beautiful Watercolor
Landscapes & Still Lifes.
4/23-4/28/17, Billie Shelburn, Fast and Loose Ink &
4/28-4/30/17, Teri Jones, Listen, Look, & Learn—An
Innovative Approach to Watercolor.
Contact: John C. Campbell Folk School, Brasstown, NC,
800-FOLK-SCH or
Kristy Kutch Colored Pencil Workshop
10/2-10/6/17, Boone. Luminous, Lustrous Colored
Pencil; colored pencil and watercolor pencil.
Sponsored by Cheap Joe’s Art Stuff. Cost $495,
including 4 lunches.
Contact: Edwina or staff, 800/227-2788 or
Tom Lynch
11/10-11/12/17, Raleigh.
Contact: 630/851-2652 or
Nancy Couick Studios, Charlotte
2/9-2/11/17, Charlotte. Ryan Fox.
3/2-3/5/17, Charlotte. Kim Johnson.
4/5-4/8/17, Charlotte. Peggi Habets.
6/12-6/14/17, Charlotte. Joseph Fettingis.
7/12-7/14/17, Charlotte. Anne Abgott.
8/11-8/13/17, Charlotte. Alexis Lavine.
9/15-9/17/17, Charlotte. Soon Warren.
11/13-11/15/17, Charlotte. Rose Edin.
Birgit O’Connor
6/12-6/16/17, Boone. Fearless Flowers. Cheap Joe’s.
Contact: Edwina, 800/227-2788 ext 1123
Susan Ogilvie, PSA
5/1-5/5/17, Winston-Salem. Landscapes in Pastel.
Field studies and studio painting—with an emphasis on
composition, beautiful light, and awesome color.
Carolyn Blaylock Fine Art.
Contact: 336/909-1378,
Michael Story
10/15-10/19/18, Boone. Cheap Joe’s “In House”
Workshops. Mastering Skies & Reflections in Oil or
Acrylic. Join us as we use the sky and water as a
dramatic design element in your painting’s composition.
Contact: Edwina May, 800/227-2788 (1123) or
Art In The Mountains
7/31-8/4/17, Bend. Richard McKinley, “A Central
Oregon Summer” plein air and studio. Intermediate
to Advanced students. Pastel Society of America Hall
For the Best in
Water Media Supplies
Instructional DVDs
& Books
Stephen Quiller
experimental water media,
color, plein air
Stephen Quiller
Quiller Gallery • 719.658.2741
MARCH 2017
of Fame pastelist Richard McKinley will demonstrate
how to produce a concise field-sketch on location with
pastel and how underpainting techniques can expand
creativity, both on location and in studio. Forming the
initial concept to the final pastel marks necessary to
make a painting work will be covered. Through individual
attention, group critiques, and class discussions, you will
leave with a clear understanding of the universal basics
of painting.
8/7-8/11/17, Bend. Herman Pekel, “The Importance
of Tone”, oil - plein air and studio. Come join a week
of exploring the beauty of color in oils. Designed for
all levels of experience in oils, this is an exciting and
informative workshop helping you to train your eye in the
discipline of observation. There will be demonstrations
each day based on the solid fundamental approach
championed by the impressionists and realists. We will
explore landscapes, streetscapes and waterscapes.
8/14-8/18/17, Bend. Herman Pekel, “Be Brave and Have
Fun”, watercolor - plein air and studio. Unearth fresh
and honest art inside yourself and learn to capture it
with paint. Herman will teach you to find originality in
your own work. Get started with new ideas in a way that
is fun and fast. You will learn about color mixing, glazes,
composition, drying time, thickness and edges to create
an impressionist painting you never thought possible with
watercolor. Expect to be challenged to be brave, and to
have fun!
8/21-8/25/17, Bend. Fabio Cembranelli, “Intuitive
Painting, Transcending the Subject!”, watercolor, studio.
Learn to take advantage of transparent watercolor to
create loose, intuitive, free and spontaneous effects
in your paintings. Join Fabio Cembranelli and explore
wet-on-wet techniques, practicing how to paint with no
preliminary drawing. You will learn how to take advantage
of your own mistakes and capture the essentials of each
8/28-9/1/17, Bend. Jane Davies, “100 Drawings,
Paintings, and Explorations”, acrylic, studio. How do
you make good art? How do you make art that is truly
yours? My view is that there are no tricks, gimmicks, or
shortcuts to this elusive goal: it just takes a lot of art
making to cultivate your inner awareness of who you are
as an artist. Fortunately, making a lot of art is fun, if you
can let go of the expectations and negative voices (that
inner critic!) that get in your way. In this workshop we will
focus on quantity – making a lot of pieces from a given
starting point.
Contact: Tracy Culbertson, 503/930-4572 or
Learning, Laughter,
and Friendships in a
Relaxing, Inspiring, and
Inviting Environment
Call Toll-Free 1-888-665-0044
• Burridge Studio App
• Free Online Newsletter
• Free Weekly BobBlast
• Current Workshop Schedule
• Workshops in Bob's Studio
Lisa Pressman
Susan Ogilvie
Jane Davies
Barbara Nechis
Patti Mollica
Robert Burridge
Liz Kenyon
Paul Leveille
Paul George
Tony van Hasselt
Gerald Brommer
David Daniels
Alvaro Castagnet
Kim English
Self-Directed Retreat
Ann Lindsay
David Taylor
Leah Lopez
Skip Lawrence
John MacDonald
Fran Skiles
Mar 19-25, 2017
Mar 26-Apr 1, 2017
May 7-13, 2017
May 17-21, 2017
May 21-27, 2017
Jun 4-10, 2017
Jun 18-24, 2017
Jun 25-Jul 1, 2017
Jul 5-9, 2017
Jul 9-15, 2017
Jul 16-22, 2017
Jul 23-29, 2017
Aug 2-6, 2017
Aug 6-12, 2017
Sep 3-9, 2017
Sep 10-16, 2017
Sep 17-23, 2017
Sep 24-30, 2017
Oct 1-7, 2017
Oct 8-14, 2017
Oct 15-21, 2017
Cannon Beach Gallery Group
6/21-6/23/17, Cannon Beach. Michael Orwick, Learning
the Language of Light and Color. This awesome 3 day
course is going to be full of Michael’s favorite color
mixes and his tips and tricks to help take your paintings
to the next level. Experience hands on the keys to
color relationships and harmony that portray emotion.
Learn new color schemes while exploring your personal
color response through Hue, Temperature, Value and
Saturation. Class is open to all levels of both acrylic and
oil painters.
Contact: or
6/22-6/23/17, Cannon Beach. Mike Rangner, Two
days working En Plein Air. Start the day with a basic
introduction to the history and the current surges of
this form of expression. He will show you with demos
the basics of starting a painting, while discussing
composition, line, shape, value and light. His goal is to
open you up to the challenges and pleasure of expressing
yourself through painting the landscape. All levels of
experience are welcome.
6/22-6/23/17, Cannon Beach. Anton Pavlenko,
Expressive Seascapes. Join me for a fun and inspiring
plein air workshop in one of National Geographic’s “Top
100 art towns in America”. The focus will be on painting
expressive and lively seascapes on location. We’ll cover
topics such as concept, composition, values, color and
more. You can also expect lectures, live demos, optional
critiques and hands-on individual instruction. All levels
of artists welcome.
Contact: or
6/22-6/23/17, Cannon Beach. Hazel and Brand
Schlesinger, Beginning and Beyond. Come join the fun of
painting on the beach. This 2 day Plein Air Workshop will
focus on many quick painting sketches for beginners and
beyond. Participants will leave with several small studies.
Class size is limited allowing maximum one-on-one easel
time given by 2 instructors.
Contact: 503/260-1961,
Kristy Kutch Colored Pencil Workshop
7/11-7/14/17, Newport. Lush and Lively Colored Pencil;
colored pencil and watercolor pencil. Sponsored by Kristy
Kutch Colored Pencil Workshops. Taught at the Newport
Visual Arts Center. Cost $300, including welcome lunch.
Contact: Kristy, 219/874-4688 or
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
7/18-7/19/17, Astoria. Exploring Colored Pencil
Techniques; colored pencil and watercolor pencil.
Sponsored by Astoria Art Loft. Cost $250.
Contact: Jo, 503/791-8444 or
Tom Lynch
9/25-9/28/17, Springfield.
Contact: 630/851-2652 or
Susan Ogilvie, PSA
10/12-10/15/17, Oregon City. Landscapes: Color and
Composition with Pastel. Studio and Plein Air with
Oregon’s autumn colors! Design and Color with purpose.
Contact: 503/866-5507 or
Marjorie Glick
9/11-9/15/17, Hummelston. Pennsylvania Watercolor
Society. Dynamic Color For Watercolorists. Stretch your
perception of how you see, think about, and interpret
color while you learn to use color in fresh new ways.
You’ll work on subjects of your choosing and will reimagine them using watercolors elusive qualities of
spontanaeity and transparency. My teaching style is
relaxed, comprehensive, and eclectic with an emphasis
on creative color use. In depth study of color mixing, wet
into wet, layering, light and shadow.
Contact: PWS Work Shops,
Pennsylvania Academy of the Fine Arts
3/4-3/5/17, Philadelphia. Woodcut Workshop with Dan
Miller – An opportunity to work with Dan Miller, a master
of woodblock printing, and member of the PAFA faculty
for over 50 years, in PAFA’s state-of-the-art Print Shop.
3/11-3/12/17, Philadelphia. Terra Cotta Figure Sculpture
with Colleen O’Donnell – Explore the versatility of terra
cotta clay, which requires neither an armature nor
casting. Learn various techniques and tools through
demonstration and hands-on sculpting from the life
3/18-3/19/17, Philadelphia. Fundamentals of Comics
Storytelling with Matt Madden – Learn to master the
rich visual language of comics with noted artist, Matt
Madden. Investigate panel-to-panel storytelling using
traditional tools: India ink, pens, brushes, and Bristol
4/1-4/2/17, Philadelphia. Painting in the Dark with
Neysa Grassi – Paint your way through the mystery and
uncertainty of the art-making process in this intuitive,
practical and empowering workshop.
5/18-5/21/17, Philadelphia. Plein Air Painting in Cape
May, New Jersey – Join Joe Sweeney for an engaging
plein air painting expedition to beautiful Cape May, NJ.
All media welcome including oil, acrylic, watercolor and
5/19-5/21/17, Philadelphia. Monotype Workshop with
Stuart Shils – Experience the joys and possibilities of
monotype printmaking with an emphasis on color and
abstraction in the shaping of the visual image.
6/3-6/4/17, Philadelphia. Master Class with Bill Scott
– Learn approaches to painting emphasizing color
and sensuous, abstract construction of space with an
expansive still-life environment as subject matter.
6/9-6/11/17, Philadelphia. The Plein Air Landscape with
John MacDonald – Learn to use photographs, sketches,
and plein air studies executed on location to create
dynamic paintings in the studio.
6/14-6/16/17, Philadelphia. Avian Drawing with Patricia
Traub – Draw live birds using Old Master drawing
techniques, and learn anatomy, feather structure and
6/19-6/23/17, Philadelphia. Still Life Painting with
Christine Lafuente – Brooklyn-based painter and PAFA
alumna Christine Lafuente considers her paintings
“poetic responses to visual experience.” Responding to
the still life, learn to build an oil painting directly, with
emphasis on color.
Contact: 215/972-7632, or
Philadelphia Water Color Society
3/24-5/5/17, Philadelphia Water Color Society Members
Show. Juror of Acceptance – Ellen Nelson, Juror of
Awards - Jim McFarlane - Boyer Gallery at The Hill
School, 766 Beech Street Pottstown, PA. Gallery hours:
Monday through Friday: 9-3, Saturday and Sunday:
3/26/17, Opening Reception and Awards Ceremony –
Philadelphia Water Color Society Members Show. There
will also be a Product Demonstration by Martin F. Weber
Company Representative - Boyer Gallery at The Hill
School, 766 Beech Street, Pottstown, PA.
4/9/17, In conjunction with the Philadelphia Water Color
Society Members Show Kass Morin Freeman, author
of “Watercolor for the Serious Beginner”, “Make your
watercolors look Professional” and “Creative Expressions
in Watercolor” will discuss how to choose a painting to
enter into juried exhibitions – Boyer Gallery at The Hill
School, Pottstown, PA.
Water Color Society
117th Anniversary
International Exhibition
Of Works on Paper
Call for Entries: March 1 to May 28, 2017
Juror of Selection: Mary Todd Beam
Exhibition Dates:
September 10 to October 13, 2017
Workshop: Andy Evansen, Juror of Awards
Date: September 7 to September 9, 2017
Show and Workshop:
Community Arts Center, Wallingford, PA 19086
In addition to watercolor The Philadelphia Water Color Society
also accepts the following mediums on paper: pastel, charcoal,
graphite, colored pencil & hand-pulled prints.
To join or learn more about PWCS please visit our website:
A Child’s Portrait in Oil
Painting from the Photograph
Portrait Series!!!
Includes the challenges and gratification of painting a child. Manipulating
photo references to work for you.
Order Now! $249 plus $15
Shipping: Visa or Mastercard
Special price! $189
(if ordered before 4/30/2017)
Painting the Plein Air Portrait
Portrait Series!!!
Outdoor Painting Simplified!
Cape School Method!
Includes color theory, block
study and head study.
Order Now! $249 plus $15
Shipping: Visa or Mastercard
Special price! $179
(if ordered before 4/30/2017)
Painting the Alla Prima Portrait
5 DVDs 4.5 Hours
Alla Prima: Juicy, Fresh Wet into Wet Painting!
Special price! $189 (if ordered before 4/30/2017)
Painting the Corporate Portrait
7 hour 7 DVDs
Special price $279
(if ordered before 4/30/2017)
4 - Day Mentoring Workshop
4 - Day Mentoring Workshop
5 - Day Plein Air Portrait Workshop
4 - Day Charcoal Portrait Workshop
7 - Day Oil Portrait Workshop
13 - Day Oil Portrait Workshop
6 - Day Long Pose Portrait Workshop
11 - Day Advanced Workshop
The Baumgaertner Portrait Atelier
June 8 - June 11
July 20 - July 23
June 14 - June 18
June 20 - June 23
June 25 - July 2
June 25 - July 12
July 5 - July 12
July 5 - July 18
June 20 - July 18
Baumgaertner Portraits
621 South 28th Street
La Crosse WI 54601 USA
Telephone: 608-385-5899 or 608-788-6465
MARCH 2017
Workshop DVDs
Egrets by Chris Unwin, NWS
Offering Master’s Workshops
8/18-8/20/17, “Keeping the Tradition Alive” Plein Air
Event sponsored by The Philadelphia Water Color Society,
and the Brandywine River Art Museum in celebration of
the 100th anniversary of Andrew Wyeth’s birth. Location:
Iconic Kuerner Farm and NC Wyeth Studio, Chadds
Ford, PA.
9/7-9/9/17, 3 day workshop with Andy Evansen, Juror
of awards for Philadelphia Water Color Society - 117th
Anniversary International Exhibition of Works on Paper Community Art Center, Wallingford, PA.
9/9-10/13/17, Philadelphia Water Color Society - 117th
Anniversary International Exhibition of Works on
Paper, Community Art Center, Wallingford, PA. Juror
of Selection – Mary Todd Beam, Juror of Awards Andy
Evansen. Gallery Hours: Monday through Thursday: 9am
- 7:30pm, Friday: 9am - 3pm, Saturday: 10am - 2pm,
Sunday: Closed.
9/9/17, Watercolor demonstration by Andy Evansen, Juror
of awards for Philadelphia Water Color Society - 117th
Anniversary International Exhibition of Works on Paper,
Community Art Center, Wallingford, PA.
9/27/17, Gallery Talk in conjunction with the Philadelphia
Water Color Society - 117th Anniversary International
Exhibition of Works on Paper, Community Art Center,
Wallingford, PA.
10/15/17, Award Ceremony – Philadelphia Water Color
Society - 117th Anniversary International Exhibition of
Works on Paper, Community Art Center, Wallingford, PA.
Additional information for all events can be found on the
Philadelphia Water Color Society Website:
Mel Stabin
6/5-6/7/17, Allentown. Watercolor: Simple, Fast, and
Focused. Sponsored by bSquared Workshops. All levels.
Contact: Barbra Barker, 610/428-0810 or
Tony Couch
6/5-6/8/17, Newport.
Contact: 678/513-6676,
The Girls by Alexis Lavine, NWS
2021 N. Kinney Road, Tucson, AZ 85743
See Video Clips at
Tom Lynch
5/2-5/5/17, Pawtucket.
Contact: 630/851-2652 or
Mel Stabin
8/7-8/11/17, Newport. Watercolor: Simple, Fast, and
Focused. Sponsored by Suzanne Siegel Studio. All levels.
Contact: Suzanne Siegel, or
Art In The Mountains
Watch the
10/16-10/20/17 and 10/23-10/27/17, Charleston.
Charles Reid, Drawing and Painting with Charles Reid Studio. Intermediate to Advanced. A great drawing is the
foundation of a great painting. Charles Reid, the master
of contour drawing, will teach you how to concentrate
on interconnecting shapes rather than drawing separate
objects. Discover how to simplify and avoid overworking
by focusing on good paint consistency. Practice “direct
painting”, using as few over-washes as possible. Achieve
the correct color, edge variety, and tonal value on the
first try.
Contact: Tracy Culbertson, 503/930-4572 or
best art
William Jameson
videos from
your studio.
SAVE 10% with coupon
code ATVMAG2016
2/23-2/25/17, Charleston. Charleston Artist Guild
“Exploring Light”. Light is perhaps the most important
element in our daily existence. Through painting, we will
explore the effects of both warm and cool light as well
as dramatic and subtle light, learning to look for and
paint reflected light. We will work from both photographic
reference and from life. This workshop will include
demonstrations, critiques, and one to one instruction in
oil, acrylic and watercolor. Open to both guild and nonguild painters, beginner to advanced.
Contact: Mary Sayas, 843/819-7528 or Bill Jameson, 828/749-3101 or
3/16-3/18/17, Anderson. Anderson Arts Center. Based
in the spacious studios at the Anderson Arts Center in
upstate South Carolina, we will spend 3 days developing
paintings using photographic references, starting with a
small and quick study, next developing an abstraction,
then completing the work. If it is a mystery why not
all photos make good paintings, learn why, and how to
determine the desirable qualities your references should
have. Work in the medium of your choice. Open to
beginners - advanced.
Contact: Bill Jameson, 828/749-3101 or
Michael Story
4/25-4/27/17, Bluffton. Colleton River Plantation.
Mastering Skies & Reflections in Oil or Acrylic. Join us as
we use the sky and water as a dramatic design element
in painting the Low Country marshes.
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
contact: Michael Story, 803/356-4268 or
Robert Burridge
The Franciscan Life
Process Center Art School
4/3-4/7/17, Granbury. Larger and Looser: The New
Master’s Program for the Postmodern Painter. 5-day
Workshop (Monday-Friday). Lake Granbury Art
Association, Granbury, TX.
Contact: Dr. Diana Littlejohn, 817/326-5629
Hosting these workshops
in Lowell, Michigan
Quiller Gallery
3/13-3/17/17, Houston. Watercolor Art Society of
Houston, 1601 West Alabama, Houston, TX 77006.
Wait list.
Contact: Louise Bateman, 713/942-9966
Anne Abgott, NWS, AWS
6/13-6/15/17, Waitsfield. 3 day watercolor workshop
on Dynamic Color. Concurrent with the Annual Green
Mountain Watercolor Exhibition.
Contact: Gary Eckhart, 802/583-2224
A few of the important artists scheduled
in 2017 include:
Art New England
In-depth one week workshops held in Bennington VT.,
taught by accomplished and generous artist/teachers.
Courses in painting, drawing, printmaking, book making,
ceramics and sculpture.
7/16-7/22/17, Week One.
7/23-7/29/17, Week Two.
7/30-8/5/17, Week Three.
• Joyce Hicks
• Andy Evanson
• Robert Spooner
• Jeffrey Hein
• Qiang Huang
• Marc Hanson
Caroline Jasper
Located on 230 acres of farmland, the Franciscan
Life Process Center is a gentle, reflective retreat
destination that leaves guests feeling renewed.
The comfortable rooms at the Center are half
the cost of a hotel, and there is a large kitchen
where guests can cook meals.
A complete listing of our workshops is found at
7/24-7/28/17, Burlington. 5 Day Workshop and Materials
Expo. Vermont Art Event. Various 3-hr workshops in
oils, acrylics, water-soluble oils. All materials included.
Sponsored by HK Holbein.
Contact: 800/682-6686
Aline Ordman
6/26-6/29/17, Landgrove Inn, Landgrove. Figure Painting
Oils and Pastels. Explore fi gure painting from life as well
as creating figures in an environment in this picturesque
country inn quickly becoming one of the most popular
workshop destinations. In the wonderful large studio,
students will have two days of painting from life and then
two days of painting figures in a setting from their own
photo references. When not painting, the surroundings
are conducive to biking, walking, and swimming. The
food is fabulous too!
Tom Lynch
• Bryan Mark Taylor
• Bryce Liston
• Juan Jr. Ramirez
• Henry Yan
• Mark Daniel Nelson
• Roger Dale Brown
Go to the Services Tab, and then to Art Program
and then to Art Workshops.
Unique Island Setting,Exceptional Workshops
8/10-8/13/17, Richmond. (Plein Air WS)
Contact: 630/851-2652 or
Shenandoah Art Destination
The Shenandoah Art Destination, a 10-acre property, is
magnificently located near the historic town of Lexington,
nestled in the Shenandoah Valley between the Blue
Ridge and the Allegheny Mountains. The owners, JanWillem & Nancy Boer, offer an ideal creative vacation
and inspiration for all art lovers of any ability – the fee for
your stay is all-inclusive – accommodations (private room
and bath), meals (home-cooked), and art instruction.
Pick-up from airports and train station available for
nominal fee. All artists are welcome from the beginner to
the professional painter for painting (all media), drawing
and printmaking. Daily course guidance/tutelage by
your host, Jan-Willem Boer, an established artist and
illustrator for over 25 years in the USA & Europe, earning
his degree from the Rietveld Academie in Amsterdam,
The Netherlands. Each day there is a focus on a different
skill with much one-on-one instruction. The facility is
set up with two great indoor studios and many wonderful
outdoor locations for plein-air painting. It is the perfect
setting to focus on art and at the same time have a
refreshing vacation. Courses run from early spring to
late autumn; for cost and more information please
visit website. Non-participating spouse/partner is also
welcome (see website for their cost). The testimonials
of previous participants acknowledge what a wonderful
experience you will have as well as the Google Reviews
posted directly on Google. Featured in the Washington
Post Travel Magazine 9/13/15 -
3/30-4/2/17, 4-Day session.
4/20-4/23/17, 4-Day session.
4/28-4/30/17, Weekend session.
5/5-5/7/17, Weekend session.
5/19-5/21/17, Weekend session.
5/28-6/2/17, 6-Day session.
6/8-6/11/17, 4-Day session.
6/15-6/20/17, 6-Day session.
6/25-6/30/17, 6-Day session.
7/7-7/9/17, Weekend session.
Iain Stewart ..................................... June 5-9
Konstantin Sterkhov .......................June 19-23
Chien Chung Wei............................June 26-30
Joe Paquet .....................................July 10-14
Bryan Mark Taylor ...........................July 24-28
Jane Davies....................................July 24-28
Herman Pekel............................ July 31-Aug 4
Sterling Edwards ...............................Aug 7-11
Frank Eber .....................................Aug 14-18
Leon Holmes ..................................Aug 21-25
Ted Nuttall .....................................Aug 21-25
David Taylor ..............................Aug 28-Sept 1
Margaret Dyer ...............................Sept 11-15
Fabio Cembranelli ..........................Sept 18-22
Plein Air Painters of America
Master Workshops ..........................Sept 25-29
Fabio Cembranelli ...........................Feb 20-24
Mel Stabin ..............................Feb 27-March 3
David Lobenberg ........................... March 6-10
The Secret to Creating
Prize-Winning Paintings
William A. Schneider
“Master of the Double Bass” Pastel 20x16
Revealing the Soul:
Creating Sensitive Portraits in Pastel
Location: Scottsdale Artists’ School
1/30/17 - 2/2/17
(800) 333-5707
Evocative Figures and Portraits: Pastel
Location: Dakota Art Center, Mt. Vernon, WA
3/8/17 - 3/11/17
(888) 345-0067 ext. 5
Start to Finish - Creating a
Complete Oil Painting
Location: Schneider Studios, Crystal Lake, IL
5/5/17 - 5/8/17
(815) 540-3121
MARCH 2017
7/12-7/17/17, 6-Day session.
7/20-7/23/17, 4-Day session.
7/27-7/30/17, 4-Day session.
8/27-8/30/17, 4-Day session.
9/1-9/4/17, 4-Day session.
9/8-9/10/17, Weekend session.
10/12-10/15/17, 4-Day session.
10/19-10/24/17, 6-Day session.
11/3-11/5/17, Weekend session.
Contact: 612/221-1140 or
Birgit O’Connor
10/2-10/6/17, Vancouver. Fearless Florals SWWS.
Contact: Charlene Shelfer, 503/705-5277
Susan Ogilvie, PSA
6/21-6/24/17, Mt Vernon. Studio & Plein with Pastels.
This studio and field class will focus on design and
composition, while emphasizing the freedom in color
Contact: Dakota Art Workshops, 888/345-0067
William A. Schneider, AISM, IAPS-MC,
3/8-3/11/17, Mt. Vernon. Evocative Figures and Portraits:
Pastel. Dakota Art Center.
Contact: 888/345-0067 ext. 5 or
Michael Story
2/24-2/26/17, Bainbridge Island. Winslow Art Center.
Mastering Skies & Reflections in Oil or Acrylic. Join us as
we use the sky and water as a dramatic design element
in your painting’s composition.
Contact: Martha Jordan, 206/715-6663 or
Baumgaertner Atelier
Margaret Carter Baumgaertner
Portrait Workshops
6/8-6/11/17, La Crosse. Mentoring Workshop. Students
work from their own photo reference with assisted
critique. 8 student limit. All levels. $600.
6/14-6/18/17, La Crosse. 5-Day Plein Air Oil Portrait
Workshop. Cape Cod School, Color Theory, use of block
studies to understand color and apply to portraiture. All
levels. $500.
6/20-6/23/17, La Crosse. 4-Day Charcoal Workshop.
Students create four charcoal drawings and have an
opportunity to work in the sauce medium. All material for
the class provided. 12 student limit. All levels. $375.
6/20-7/18/17, La Crosse. Baumgaertner Portrait Atelier.
Continuous Portrait Program including the 4-Day
Charcoal Workshop, 7-Day Oil Portrait Workshop and the
11-Day Advanced Workshop. The student completes a
total of six portraits. All levels. $1,600.
6/25-7/2/17, La Crosse. 7-Day Oil Portrait Workshop.
Basic Portraiture Workshop. Students paint one model
in the morning and a second model in the afternoon.
Two, 4-hour portrait demonstrations and a five-hour
marketing round table discussion. 12 student limit. All
levels. $625.
6/25-7/12/17, La Crosse. 13-Day Oil Portrait Workshop:
The first seven days mirror the 7-Day Oil Portrait
Workshop. During the second six days, the students will
paint one long pose portrait. 12 student limit. All levels.
6/26-7/10/17, La Crosse. 5-Evening Portrait Sculpture
Workshop with Mike Martino. 8 student limit. All levels.
7/5-7/12/17, La Crosse. 6-Day Long Pose Portrait
Workshop. One 6 day long pose head and shoulder
model. The long pose allows the student to explore
finishing techniques. 12 student limit. $600.
7/5-7/18/17, La Crosse. 11-Day Advanced Workshop. One
6 day long pose head and shoulder model. The long pose
allows the student to explore finishing techniques. 12
student limit. 5 Day mentoring session. Students work
from their own photo reference with assisted critique. All
levels. $900.
7/14-7/18/17, La Crosse. Mentoring Workshop. Students
work from their own photo reference with assisted
critique. 8 student limit. All levels. $600.
7/20-7/23/17, La Crosse. Mentoring Workshop. Students
work from their own photo reference with assisted
critique. 8 student limit. All levels. $600.
Contact: Margaret Carter Baumgaertner,
621 South 28th Street, La Crosse, WI 54601,
608/788-6465 or 608/385-5899 or
Aline Ordman
Kailua-Kona, HI • Feb 28- March 2
Donaldson, IN • April 24-26
Grand Marais, MN • June 13-16
Newport, OR • July 11-14
Astoria, OR • July 18-19
Lake Geneva, WI • September 11-14
Boone, NC • October 2-6
October 2017
Painting Oil
and Pastel
June 2017
Figure Painting
Oil and Pastel • 219.874.4688
11555 West Earl Road • Michigan City, IN 46360
Caroline Jasper
9/11-9/14/17, Lac du Flambeau. 4 Day Workshop.
Head & Heart Plein Air Painting, oils, acrylics,
water-soluble oils.
Sponsored by Dillmans Creative Arts Foundation.
Contact: 715/588-3143, or
Kristy Kutch Colored Pencil Workshop
9/11-9/14/17, Lake Geneva. Colored Pencil: Delicate
to Dynamic; colored pencil and watercolor pencil.
Sponsored by Kristy Kutch Colored Pencil Workshops.
Cost $285, including welcome dinner.
Contact: Kristy, 219/874-4688 or
Tom Lynch
7/10-7/14/17, Lac du Flambeau.
Contact: 630/851-2652 or
Madeline Island School of the Arts
6/5-6/9/17, Iain Stewart.
6/19-6/23/17, Konstantin Sterkhov.
6/26-6/30/17, Chien Chung Wei.
7/10-7/14/17, Joe Paquet.
7/24-7/28/17, Bryan Mark Taylor.
7/24-7/28/17, Jane Davies.
7/31-8/4/17, Herman Pekel.
8/7-8/11/17, Sterling Edwards.
8/14-8/18/17, Frank Eber.
8/21-8/25/17, Leon Holmes.
8/21-8/25/17, Ted Nuttall.
8/28-9/1/17, David Taylor.
9/11-9/15/17, Margaret Dyer.
9/18-9/22/17, Fabio Cembranelli.
9/25-9/29/17, Plein Air Painters of America
Master Workshops.
Contact: 715/747-2054,
Transparent Watercolor Society of America
6/5-6/9/17, Kenosha/Chicagoland.
Jean Pederson, “Luscious Wet Portraiture”.
6/5-6/9/17, Kenosha/Chicagoland. Bruce Handford,
“Light and Shadow in Rural/Cityscape”.
6/12-6/16/17, Kenosha/Chicagoland.
Jean Pederson, “Wet Glazing Stills and Florals”.
6/12-6/16/17, Kenosha/Chicagoland.
Bruce Handford, “Bold and Fresh Water/Landscape”.
2017 TWSA Workshops with
Jean Pederson, CSPWC
June 5-9 Luscious Wet Portraiture
June 12-16 Wet Glazing Stills and Florals
Bruce Handford, TWSA MS
June 5-9 Light & Shadow in Rural/Cityscape
June 12-16 Bold & Fresh Water/Landscape
sign up at
the Transparent Watercolor Society of America
41th Annual
Kenosha Public Museum, WI
May 6 through August 6, 2017
MEXICO - San Miguel de Allende
March 2017 Ted Nuttall/Bob Burridge
ITALY - Lake Como June 2017
Mel Stabin-WC
FRANCE - Don Andrews Sept 2017
SANTA FE, NM October 2017
Brenda Swenson-WC 858.518.0949
last a
Cambria CA, March 13-16
Dawsonville GA, April 3-6
Branson MO, April 24-27
St. Simons Isl GA, May 15-18
Newport RI, June 5-8
Parker CO, June 26-29
Available for a workshop at your location
Learn at home Books and DVDs
(678) 513-6676 ■
What you learn at the
Folk School stays with you.
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
Contact: Vickie, 262/484-1261 or
Tom Lynch
6/5-6/9/17, Cheyenne.
Contact: 630/851-2652 or
Flemish Classical Atelier
4/17-4/28/17, Cuong Nguyen, Realistic Skin Tones Pastel
Portraiture Workshop.
5/1-5/26/17, ARC Living Master™ Patrick Devonas,
Figurative Compositions with Venetian Method.
5/15-5/26/17, Adam Miller, Composing Narrative Figure
Paintings Using Baroque techniques.
6/5-6/9/17, ARC Living Master™ Shane Wolf,
Direct and Indirect Approach to Modern Portraiture.
6/5-6/30/17 and 7/3-7/28/17, Angela Cunningham,
Core Training in Drawing and Painting.
6/12-6/23/17, Steven Assael, Emotive Approach to
Painting the Human Figure.
7/3-7/14/17, Giorgio Dante, 19th Century European
Academism taught by young Italian master.
7/17-7/28/17, ARC Living Master™ Robert Liberace,
A Modern Approach to the Classic Figure.
7/31-8/11/17, Cindy Procious, Painting the Realistic
Still Life.
8/21-8/31/17, Teresa Oaxaca, Classical Portraiture with
Still Life Atelier Training.
9/1-9/3/17, George O’Hanlon, Natural Pigments “Painting Best Practices Workshop”.
Contact: or
Bear Valley Highlands
Imagine – Art workshops and painting vacations in a
beautiful wilderness setting in the Okanagan, southern
British Columbia. Learn – from professional acclaimed
artists and instructors in small groups of up to 12
students. Enjoy – comfortable accommodation in log
chalets and organic meals in company of fellow artists.
Be inspired – by our large yurt studio space with plenty
of natural light and breathtaking mountain views.
Contact us for details!
10-14 Mel Stabin AWS NWS WC
31-8/4 Tony Van Hasselt AWS WC
17-21 M C Johnson PSA Pastels/Oils
24-28 Larry Moore Oils
8-11 Alvaro Castagnet AWS WC
14-18 Don Andrews AWS WC
21-25 Mike Bailey AWS NWS WC
28-9/1 David P. Curtis Oils
28-9/1 Chris Cart WC
Relax – on the deck of your log chalet, watching the
wildlife roaming our 640 acres or paddling on our private
lake. All levels of Artists are welcome, from beginners
to professional painters. You are welcome to bring a non
painting partner who can enjoy one of the many hiking
trails, fishing on the lake or try out one of our adventure
packages in ATV, Canoeing or Kayaking.
5/4-5/7/17, Dominik Modlinski/David McEown, Oil and
Water. Light on the Landscape with Oil and Water. 4
day Plein air workshop with Canadian plein air masters.
Oil painter Domink Modlinski and watercolourist
David McEown will lead this plein air workshop in
which participants will learn essential techniques,
and perceptions exercises in order to paint directly
from nature thus enhancing one’s way of seeing, inner
landscape and connectedness to the environment.
5/13-5/15/17, Jean Pederson, Building Blocks for
exciting design. Jean is the author of “Expressive
Portraits: Creative Methods for Painting People”. She
has been painting for over twenty years, balancing her
strong teaching abilities, and writing with her continuing
aspiration to convey her ideas in visual form.
5/27-5/29/17, Tim Schumm, Dramatic Landscapes in
Acrylics. Tim is a Canadian painter who is consistently
renewed and inspired by the power, diversity, and beauty
of the landscape that surrounds him. He is exploratory
by nature, and appreciates experiencing a wide crosssection of the Canadian countryside and seashore,
bringing to life the majesty before him.
6/9-6/11/17, Ron Hedrick, Plein Air Oil and Acrylic. Ron
was born in Vancouver B.C. In 1968 Ron took his first
painting instruction from Karl Wood, but it was in 1981
while living in Kamloops B.C. that he took up painting
with a passion. Surrounded by spectacular hues and
rolling landscapes, he began to focus on this magnifi cent
world we sometimes take for granted.
6/23-6/25/17, Ingrid Christensen, Florals Oil and Acrylic.
Learn to paint the flowers of Bear Valley in a loose,
impressionistic, and joyful manner with Ingrid
Christensen. Using flowers as a subject, you’ll liberate
your paintings from the pitfall of unnecessary fussing
and detail. This workshop will focus on simplifying your
subject to its essence, and discovering how a little
precision can go a long way.
Contact: Barbara Fresz, 250/306-6762 or
Annie O’Brien Gonzales
9/27-9/30/17, Calgary. Bold Expressive Florals.
Leading Edge Art Workshops.
Art In The Mountains
4/25-5/15/17, Santiago. Karlyn Holman, “20-Day South
American Cruise”, watercolor plus, studio. All Levels
Welcome. Join us for the adventure of a lifetime. Karlyn
Holman and Art in the Mountains invite you to join us on
this 20-day art adventure from Santiago, Chile to San
Francisco, California. Karlyn will provide instruction,
demonstrations, individual help and critiques on the
8-days at sea so you can enjoy your off-shore excursions
with your companion(s).
Contact: Tracy Culbertson, 503/930-4572 or
Aline Ordman
10/4-10/13/17, Dubrovnik. Landscape Painting Pastel
and Oil. After arriving in Dubrovnik we will go to the
beautiful island of Korcula and paint the magnificent
landscapes of sea and lovely old towns. Aline will
demonstrate in pastels and oils while teaching principles
of color, design and technique. Daily excursions to
different locations.
Cerulean Blue Enterprises
June 2017, England’s Gardens. Travel to the stunning
coast of Cornwall to paint in five of the most beautiful
English gardens recommended by the Royal Horticultural
Society, including one featured in a Daphne du Maurier
Contact: Nan Dawkins, 954/663-7250
Paint Away: Art Classes Abroad!
A Coastal Maine Art Workshop Program.
Non-painters welcome!
5/3-5/13/17, Paint the Cotswolds. Andy Evansen. WC.
All levels.
Contact: Lyn Donovan, Director, 207/594-4813 or
4-8 John Wilson #1 Oils
11-15 Andy Evansen WC
11-15 John Wilson #2 Oils
18-22 Colin Page WC
25-29 Colley Whisson Oils
Paint Away: Art
Classes Abroad!
May 3-13 Cotswolds Evansen WC
Oct 3-13 Venice Whisson Oils
Oct 13-23 Provence
van Hasselt WC
207-594-4813 •
Workshops - Studio & Plein Air
Composition and Color
2 0 1 7
AZ • MA • NC • NJ • NY • OR • WA
MARCH 2017
Quiller Gallery
CALIFORNIA National Watercolor Society
5/22-5/24/17, San Pedro. Bob Burridge, ISAP, PWS,
Improvisational Watermedia-Contemporary
Materials For Contemporary Times.
10/23-10/25/17, San Pedro. Geoffrey McCormick, NWS,
AWS, Lifetime of Tips, Tricks & Techniques &
How to Apply Them to Your Art.
Register online:
Information: 760-908-3389
Bear Valley Highlands Art Workshops
Lumby, British Columbia
Annie O’Brien Gonzales
Professional Artists
Wilderness Setting
Accommodation and Meals
Santa Fe, New Mexico 505.699.1705 |
New Book: “Bold Expressive Painting: Painting
Techniques for Still Lifes, Florals and
Landscapes in Mixed Media”. 250-306-6762
9/3-9/13/17, Cornwall. Jack Richeson Company,
PO Box 160, Kimberly, WI 54136-0160. Wait list.
Contact: Colleen Richeson Maxey, 800/233-2404
Cerulean Blue Enterprises
June 2017, Shadowing Van Gogh. Acrylic painting
workshop with Jan van Boeckel of “Wild Painting”.
Combine art with history as you paint in the locations
featured in some of Van Gogh’s most famous works.
Contact: Nan Dawkins, 954/663-7250
Flying Colors Art Workshops
September 2017, Honfleur and Dinan.
Don Andrews, Medium W/C, Plein Air.
All levels of instruction. Class size 20.
Contact: Cris Weatherby, 858/518-0949 or
Open Air Italy
Travel. Paint. Live. 2017
Art Workshops
…10 years of specializing in small plein air workshops
and retreats in beautiful European locations with
world class instruction at an affordable cost.
Italy | England | France
South Africa | USA
2017 Workshops & Retreats
Tuscany- Larry Moore – June 3-10
Provence – Uninstructed Artist Retreat
June 16-23
Lake Como – Roger Dale Brown
September 12-19
Amalfi Coast – Mary Garrish –
October 10-17
6/16-6/23/17, Provence’s Cotes du Rhone. Artist Retreat
-Uninstructed. All Mediums - All Levels.
Contact: Susan Truitt, 321/626-2717
Paint Away: Art Classes Abroad!
A Coastal Maine Art Workshop Program.
Non-painters welcome!
10/13-10/23/17, Painting the Villages of Provence.
Tony van Hasselt AWS. WC. All levels.
Contact: Lyn Donovan, Director, 207/594-4813 or
Michael Story
6/1-6/11/17, Southwest France. River Lot Region.
Mastering Skies & Reflections in Oil or Pastel. Paint
the iconic vistas in the heart of rolling hills, castles,
chateaux, and charming villages. Your residence and
studio will be a 200+ year-old French farmhouse.
Additional excursions planned.
Contact: Lisa Statkus, 206/218-6087 or • 321-626-2717
Workshops In France
2017 Painting
Follow The Artist’s Magazine
on social media
and @ArtistsNetwork)
Art Retreats
Chateau art retreat in Provence. Distraction free paradise
for artists. Friendly, fabulous food, wine, accommodation
in the Chateau and transportation to beautiful painting
locations. All-inclusive retreat except airfare.
5/28-6/6/17, Provence. 10 days. Poppies to the
Mediterranean. All media – paint and sketch side-by-side
with artists.
9/6-9/15/17, Provencal villages, vineyards and Cézanne.
All media – paint and sketch side-by-side with artists.
Instructed Workshops
Paint with exceptional master painters in France.
Perfectly-balanced painting workshops with instruction
and total immersion in French life. All-inclusive;
instruction, food, wine, accommodation at the Chateau
and transportation, except air fare.
5/11-5/20/17, Carol Marine Instructor Painting Provence
– 10 days painting experience in Southern France with
Daily Painting pioneer.
9/20-9/30/17, Romel de la Torre & Timothy C. Tyler
Master Painters – teaching side-by-side in Provence from
live models to spectacular scenery.
Contact: Julie Snyder, 818/621-2523
Northeast Art
Workshop Retreats
gets rave reviews!
Internationally Acclaimed
Artist Instructors
All levels & all media including:
watercolor, encaustic, acrylic,
oil, collage, etc.
2000 sq ft Dream Studio also
available for Shares and Rentals
Cerulean Blue Enterprises
9/23-9/30/17, Amalfi Coast. Spend a week along the
stunning Amalfi Coast in Italy, painting magnificent
seascapes, seaside gardens, and street scenes with
realist instructor Inez Hudson. Includes a tour of
9/30-10/7/17, Ravello. Spend a week in Ravello perched
high above the Mediterranean sea, painting seaside
gardens, villas and street scenes with award winning
plein air instructor, Stacy Barter.
Contact: Nan Dawkins, 954/663-7250
Flying Colors Art Workshops
June 2017, Italy Lake District.
Mel Stabin, Medium W/C, Plein Air.
All levels of instruction. Class size 20.
Contact: Cris Weatherby, 858/518-0949 or
Open Air Italy
6/3-6/10/17, Larry Moore, Plein Air in Tuscany’s Val
D’Orcia. All Mediums - All Levels. Open to a maximum
of 8 students.
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
9/12-9/19/17, Roger Dale Brown, Plein Air on the Shores
of Lake Como. Oil - Intermediate to Advanced. Open to a
maximum of 10 students.
10/10-10/17/17, Mary Garrish, Amalfi Coast in Plein Air.
Oil, Acrylic, & Pastel - All Levels. Open to a maximum of
8 students.
Contact: Susan Truitt, 321/626-2717
Watercolor Society of Alabama’s
76th Annual
National Exhibition Workshop
Instructor: Awards
Judge Ming Franz,
“Splash Ink with
Paint Away: Art Classes Abroad!
A Coastal Maine Art Workshop Program.
Non-painters welcome!
10/3-10/13/17, The Impressionist Venice Landscape.
Colley Whisson. Oils. All levels.
Contact: Lyn Donovan, Director, 207/594-4813 or
Heritage Hall Museum
Talladega, Alabama
April 6-8, 2017
Members $350
Non-members $380
Mel Stabin
6/18-6/28/17, Bellagio, Lake Como. Watercolor: Simple,
Fast, and Focused. Sponsored by Flying Colors Art
Workshops. All levels.
Contact: Cris Weatherby, 858/518-0949 or
© Ming Franz
Robert Burridge
1/21-1/28/17, Boca de Tomatlan. Tropical Painting
Workshop. Casa de Los Artistas. Boca de Tomatlan, 10
miles South of Puerto Vallarta.
Contact: Robert Masla, 413/625-8383
3/19-3/25/17, San Miguel de Allende. Abstract Acrylic
Painting & Collage Workshop in Mexico.
Contact: Flying Colors, 858/518-0949 or
Flying Colors Art Workshops
March 2017, San Miguel de Allende.
Ted Nuttall, Medium W/C, Studio Portraiture.
All levels of instruction. Class size 20.
March 2017, San Miguel de Allende.
Bob Burridge, Medium Acrylic, Studio.
All levels of instruction. Class size 20.
Contact: Cris Weatherby, 858/518-0949 or
Robbie Laird
Watermedia Artist, Teacher, Juror
May 13-16, 2017 BWCS, Melbourne, Florida
Brenda Hutchinson 321-693-0587
*NEW June 18-23, 2017
Creative Rhythms Retreat, California
Sept. 28- Oct. 1, 2017 MTWS, Kalispell, Montana
Margo Voermans
Contact Robbie 530/259-2100
For more
information contact:
Jaceena Shepard
or 256.810.9240
Jan 7 – 14
Puerto Vallarta, MEX
Feb 6 – 9
The Villages, FL
Feb 16 – 18
Lake Park, FL
Feb 28 – Mar 3 Santa Rosa Beach, FL
Mar 14 – 17
Albany, GA
April 25 – 28 Metairie, LA
(New Orleans)
May 2 – 5
Pawtucket, RI
June 5 – 9
Cheyenne, WY
July 10 – 14
Lac du Flambeau, WI
Aug 10 – 13
Richmond, VA
(Plein Air WS)
Sept 11 – 14
Beaver Creek, CO
Sept 25 – 28
Springfield, OR
Oct 3 – 6
Rehoboth Beach, DE
Nov 10 – 12
Raleigh, NC
Nov 14 – 17
Quincy, FL
Dec 11 – 14
Palm Beach, FL
Available For Workshops
In Your Area
Call 630-851-2652
Workshops In Scotland
Join the Scottish Art Retreat in the Highlands and
Islands of Scotland’s West Coast. Magnificent glens,
countryside and the best of Scotland. Loch-side
accommodation, all meals, wine and transportation
included with exception of airfare. Includes 3-day Art &
Culture Tour – Edinburgh & Glasgow.
6/17-6/30/17, 2 weeks. Art Retreat, Argyll Scotland.
All media. Paint and sketch side-by-side with artists.
Contact: Julie Snyder, 818/621-2523
Cerulean Blue Enterprises
August 2017, Wildflower Safari South Africa. In August,
South Africa becomes saturated in technicolor with
carpets of wildflowers that will make you forget the
lavender fields of Provence. Stunning seascapes, quaint
flower shows, magnificent color!
Contact: Nan Dawkins, 954/663-7250
2017 Watercolor Workshops
“One of the 100 most beautiful places
in the world”~National Geographic
The Villages, FL – Feb 13-16 Belfast, ME – July 10-14
Tucson, AZ – Feb 27 - Mar 3 Newport, RI – Aug 7-11
Huntsville, AL – Apr 3-7
Norcross, GA – Aug 21-24
New York, NY – Apr 30
Fairfield, NJ – Oct 7
Guilford, CT – May 19-21
Sugar Loaf, NY – Oct 10-12
Allentown, PA – June 5-7
June 21-23 Four Workshops
June 23-25 9th Annual
Plein Air & More Art Festival
BELLAGIO, LAKE COMO, ITALY – June 18-28 • 201-746-0376
Camille Przewodek
Mondays with Camille. LDL (Long Distance Learning)
is a continuation program for further developing a new
way of seeing and painting color. Online instruction/
critiques are scheduled on Monday afternoons, from 2
to 5 pm (Pacific Time) for painters who have taken one
of my 5-day workshops, but are unable to come and
continue their studies at my regular Monday morning
classes in Petaluma CA. Plein-air still life, landscape,
head & figure. Please see website for updated schedule
and details.
Contact: Camille Przewodek, 707/762-4125 or
Watts Atelier Online Inc
With over 24 years experience teaching thousands of
students at the Watts Atelier, Jeff Watts has prepared an
unprecedented online program based on the traditions of
the masters. Just like at the Atelier, students are strongly
encouraged to build their skills in Drawing first, and then
branch out into Painting and Specialty classes.
Contact: 760/753-5378,
The next Workshop Section will appear in
The Artist’s Magazine’s June 2017 issue.
Space Reservation is by February 23, 2017
Newsstand Date for June is April 25, 2017
Online Course
Books & DVDS
MARCH 2017
Find Great Artists at
John Salminen
Master of the Urban Landscape
John Salminen is one of the most accomplished
watercolor artists working today, earning awards and
recognition all over the world. In Master of the Urban
Landscape, Salminen shares over 150 pieces of artwork, spanning his entire career. His early abstracts and
recent plein air work in the book’s Introduction set the
groundwork for four chapters of remarkable watercolor
paintings that highlight different aspects of his work:
architectural form, organic form, human form and light
and shadow. Embark on an amazing watercolor journey
with John Salminen—Master of the Urban Landscape.
Get your copy of Master of the Urban
Landscape today in the North Light Shop!
These and many other North Light products are available at your favorite art
& craft retailer or bookstore. You can also order online at NorthLightShop.
com or by phone at 1-800-258-0929. Online prices may differ on listed titles;
prices are as marked on store pages in the North Light Shop.
an imprint of F+W Media, Inc.
Carol Lake • • 385/414-1439
Mary McLane • • 970/290-6065
Call for Entries
Pastel Society of America
45th Annual Open Juried Exhibition
Entry Deadline: Midnight, June 13, 2017
The Fine Art of Framing
Hundreds of ready made frames
in sizes from 4” x 6” to 48” x 72”
today to review upcoming courses
and see how you might take your
art to the next level!
Order Online:
The Crown Jewel of Pastel Exhibitions
Missouri Watercolor Society 2017 International,
April 1-29, 2017. Exhibition in the gorgeous
St. Louis, MO Central Library. Juror for selection:
John Salminen. $3,000 for Best of Show and
$12,000+ in cash and material awards. There
is NO time limit on the paintings completion.
Southern Watercolor Society 40th Annual
Exhibition, April 29 - June 16, 2017 at the
Panama City Center for the Arts, Panama City,
FL. Juror: Linda Kemp CSPWC, OSA, SCA. Cash/
Merchandise awards. Linda Kemp workshop
April 25-28, 2017. Limited to member artists
residing in the 18 states and DC which comprise
SW. Deadline for online entries through Juried
Art Services Feb. 13, 2017. Information and
download prospectus at
RRWS 24th Annual National Watermedia
Exhibition, June 19 - August 5, 2017. Juror/
workshop instructor Andy Evansen. Top Awards:
$1,250; $1,000; $750 plus more. Prospectus:
#10 SASE to: Diane Harrison, 2842 Lilac Lane
N, Fargo, ND 58102, at or at
The Pikes Peak Watercolor Society Presents
Watermedia 2017. Juror Soon Y. Warren, AWS,
NWS. Show dates: June 2-24, 2017 at the
Cottonwood Center for the Arts. Best of show:
$2,000, Gold award: $1,000, plus additional
awards. Fees: Members: $30-up to 3 digital
images. Non-members: $40-up to 3 digital
images. Download prospectus at
Cape Cod Art Association All Cape Cod Open
Juried Exhibition & Sale. May 8 - June 4, 2017.
Submit digital images through
before March 31 deadline. Accepted work
received by May 8. Reception: 5-7pm Thursday,
May 11. Pickup: June 5. Over $2,000 cash
Cape Cod, Massachusetts. Pastel Painters
Society of Cape Cod National Juried Exhibition
“For Pastels Only on Cape Cod 2017. Opening
June 24 runs to July 17 at the Cultural Center of
Cape Cod. $5,000 in awards. Juror of Selections,
Robert Carsten; Juror of Awards, Jacob Aguiar.
Download prospectus at
or at
The Woodson Art Museum is accepting
submissions of the annual juried Birds in Art
exhibition, September 9 - November 26, 2017.
All works must interpret birds and related subject
matter. Processing fee: $50 for one entry; $60
for two entries. Postmark and online submission
deadline for entry form, digital image, and
processing fee April 15, 2017. For prospectus/
entry form, visit; call
715/845-7010; email; or
write 700 N 12th St., Wausau, WI 54403-5007.
6th Annual Green Mountain Watercolor
Exhibition, June 18 - July 22 in the Mad River
Valley (Waitsfield) of Vermont. 3000 visitors to
exhibition annually. $4,500+ in cash awards
plus merchandise awards. Judge of awards: Anne
Abgott. On-line entries only. Prospectus at Information at 802/583-2224
or 802/496-6682.
DEADLINE: MAY 15, 2017
Pennsylvania Watercolor Society’s 38th
International Juried Exhibition, September 11 October 28, 2017 at Adams County Arts Council,
Gettysburg, PA. Juror of Selection - Jeanne
Dobie. Juror of Awards - Marjorie Glick. Over
$14,000 in awards. For a prospectus visit or email
Pastel Society of America. The 45th Annual
Open Juried Exhibition: Enduring Brilliance!
at the National Arts Club, New York City,
September 5-30, 2017. Soft pastels only.
More than $40,000 in awards. Online digital
entries only. Download prospectus after March
15th at or
send SASE (#10) to Pastel Society of America,
15 Gramercy Park South, New York, NY 10003.
Info 212/533-6931 or
MARCH 2017
The Artist’s Magazine Annual Art Competition 2016 Finalist
ABOVE: Anemone in Blue, II
(watercolor on paper, 30x40)
Pat Rempel
Hamilton, Michigan •
HOW TO DRAW at a young
age, and I had a wonderful
art teacher in high school.
After years in the corporate
world, I started taking night
classes at Kendall College of
Art and Design, in Michigan.
This led me to opening my
own studio and gallery space.
The colors and crazy pattern in this fabric gave me
the idea for Anemone in Blue,
II. After taking photos outside
in strong sunlight at different
angles, I started the design
with a detailed drawing on
Arches 300-lb cold-pressed
watercolor paper. I then
masked out the flowers and
leaves so I could put in a
wash of warm transparent
gray for the white tablecloth
and vase’s shadow. I painted
the blue vase next, using a
wet-on-wet technique with
dark saturated color mixtures
of phthalo blue, cobalt and
ultramarine blue. At the same
time, I used a paper towel to
lift off the lighter sections of
the vase. The challenge was
to paint it dark enough while
maintaining the transparency
of the glass. Later I used an
airbrush with liquid watercolor to add some darks without disturbing the underpainting. Next came the crazy
fabric! Since the same colors
Make time for the things that
feed your soul. Art certainly
feeds mine.
were repeated throughout the
fabric, I laid out a color chart
for reference over the next
few weeks of painting.
The best advice I ever
received was not to quit when
going through a rough painting period. You learn more
during those times than when
everything is coming easily. ■
The Alley EFUBJM
Motion Capture Studio 05 EFUBJM
Blue Bicycle EFUBJM
See your work in The Artist’s Magazine!
Compete and Win in 5 Categories!
Jurors: Julie Askew t Jaye Schlesinger t Betsy Dillard Stroud t Jerry N. Weiss t David Jon Kassan
Winners will be featured
in the Jan/Feb 2018 issue
of The Artist’s Magazine.
Student winners will be
featured in the December
2017 issue.
Nine finalists will be showcased in the magazine’s
Competition Spotlight
feature. Let fans of your
work learn a bit more about
you—and your inspiration.
Twelve finalists will be
featured as Artist of the
Month on our website, which
attracts hundreds of thousands
of visits per year—more eyes
on your work!
For complete prizes, guidelines and to enter online, visit
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