Logical Perspective Workshop (Part 2) with Howard Rose, October 19

Logical Perspective Workshop (Part 2) with Howard Rose, October 19

Logical Perspective Workshop with Howard Rose
October 19 (Part 2) • Noon-3pm • $60

One point, two point and three point perspective – it’s in every drawing and every design that you will create as an artist. Learning to see perspective without the complicated measurements will make it second nature in your designs and drawings. You have to get good at it to create realistic work. 

Is it right or is it wrong?
If you get the basic concepts of vanishing points and understanding the idea that objects get smaller as they recede, you will get accurate perspective lines in your initial designs with minimal effort.
Don’t get discouraged by looking at YouTube videos. They will look so very complicated and – they are!
You will leave this workshop, with a clear and logical understanding of all of the basic rules of perspective. You will be able to create accurate perspective visually without measuring and getting lost in the details.
Howard will supply a 36-page Perspective Workbook that will cover everything you need to know.
Bring to class a 12-inch ruler, pencils, eraser and blank 8.5 x 11 white paper (nothing special).
If you missed Part 1, No Problem! You’ll be able to catch up!
Look forward to seeing you!
Howard Rose

Perspective Workshop w/Rose – Oct 19, 2019
Phone Number




Logical Perspective Workshop (Part 2) with Howard Rose, October 19

Logical Perspective Workshop (Part 2) with Howard Rose, October 19, 2019

Logical Perspective Workshop with Howard Rose
October 19 (Part 2) • Noon – 3 pm • $60

This is the second part of Howard Rose’s Logical Perspective workshop. All are welcome! No need to take part 1 to take part 2!


One point, two point and three point perspective – it’s in every drawing and every design that you will create as an artist. 
Learning to see perspective without the complicated measurements will make it second nature in your designs and drawings. You have to get good at it to create realistic work. 

Is it right or is it wrong?
If you get the basic concepts of vanishing points and understanding the idea that objects get smaller as they recede, you will get accurate perspective lines in your initial designs with minimal effort.
Don’t get discouraged by looking at YouTube videos. They will look so very complicated and – they are!
You will leave this workshop, with a clear and logical understanding of all of the basic rules of perspective. You will be able to create accurate perspective visually without measuring and getting lost in the details.
Howard will supply a 36-page Perspective Workbook that will cover everything you need to know.
Bring to class a 12-inch ruler, pencils, eraser and blank 8.5 x 11 white paper (nothing special).
Look forward to seeing you!
Howard Rose
Perspective Workshop w/Rose – Oct 19, 2019
Phone Number
Color Theory and Mixing Workshop with Devin Cecil-Wishing – February 8-9, 2020

Color Theory and Mixing Workshop with Devin Cecil-Wishing – February 8-9, 2020

Color Theory and Mixing Workshop with Devin Cecil-Wishing
Two-Day Workshop: February 8-9, 2020, 9am – 4pm
$250M/285NM

Color is a complex topic that beginning, and even more advanced painters, oftentimes struggle with.  In this workshop, using a traditional color palette,  students will learn a logical approach to color mixing, which will eliminate much of the mystery and confusion surrounding the topic of color.

By systematically breaking down the subject in to its component parts, you can learn to focus on one element at a time and begin to think of color in terms of freely navigating through a “color space” rather than worrying about trying to memorize specific recipes of pigments.

This class will feature in depth discussions on color, light, and visual perception, as well as demonstrations showing how to actually apply these principles to real world painting scenarios.  Students will spend time completing various color mixing and painting exercises on small still lifes, specifically designed to help them internalize the lessons on color that are being discussed in the lectures and demonstrations.

“Goodbye chalky or muddy colors”

This is a great opportunity for students to learn how to avoid some common pitfalls such as “chalky” and “muddy” colors, and learn how to pin down exactly what we’re talking about when we describe colors as “interesting,” “subtle,” “deep,” “rich,” “warm,” “cool,” etc. 

By exploring the underlying principles of color mixing, students will discover that color is just as logical in its workings as anything else and that there is no reason for it to feel confusing, mysterious, or inaccessible.

Click HERE for the materials list for this workshop and scroll down for more information about the instructor, Devin Cecil-Wishing.

WORKSHOPS:  Cancellations by the student more than 90 days: full refund. Under 90 days: $50 non-refundable registration fee is included in the workshop tuition.  Deposit is non-refundable within 14 days of the start of the workshop.

Color Workshop with Cecil-Wishing Feb 2020

San Francisco native, Devin Cecil-Wishing (b. 1981), launched his art career at age 13 after discovering the work of underground cartoonist R. Crumb.  He attended San Francisco School of the Arts High School where, at age 14, he was offered his first commission.  The classroom teacher noticed Devin’s class “notes” were a rich assortment of well-developed doodles and cartoons.  In an unusual offer, the classroom teacher offered Devin a “B,” if he could produce a poster for his band.  A successful poster was created for the teacher and Devin’s early art career was launched.

Devin went on to attend the California College of Arts and Crafts where he graduated in 2005 with High Honors from the illustration department.  It was during this time that Devin began to more seriously explore other forms and styles of art.  His education helped him develop interests in 60’s poster art, surrealism – particularly the works of Dali, wildlife art and many other art styles. Following graduation, Devin traveled to Amsterdam to view works on display for the celebration of Rembrandt’s 400th birthday.  It was during a trip to The Hague and a viewing of Rembrandt’s “The Anatomy Lesson of Dr. Nicolaes Tulp,” that Devin realized how much he loved traditional painting and desired to study it further.  Returning to San Francisco, Devin began studying at the Atelier School of Classical Realism in Oakland CA.  At the same time, he began working as an instructor, teaching traditional drawing to low-income high school students in an after school program.  He discovered that not only did he love creating art; he also had a true love for teaching art.  He quickly began to teach at several other Bay Area locations. 

Wanting to push his skills further, Devin applied and was accepted to study under the direction of Jacob Collins at the Grand Central Academy of Art in New York City. Devin moved to New York and began his studies in the summer of 2009.  In his fourth year as a student he was invited to begin teaching classes there as well.

Devin’s work has been featured in numerous publications including American Artist Magazine, The Epoch Times, Bay Nature Magazine, The New Criterion and the San Francisco Chronicle. His work has been exhibited in galleries and museums across the country.  He has received numerous awards including a Stobart Grant, acceptance to the Hudson River Fellowship and first place in the Alfred Ross Prize for Excellence in Cast Drawing, and has been awarded in the prestigious Art Renewal Center’s annual scholarship competition.  His work has also been featured in the Art Renewal Center’s Annual Salon multiple times.

In the summer of 2014 Devin was invited to South Africa where he went to teach a two week drawing intensive.  In 2018 he launched an ongoing instructional video series designed to teach painting and drawing to those students who can not come to New York to study in person.

Devin currently lives in New York City where he paints and teaches at the Grand Central Atelier.  He is represented by William Ris Gallery in Long Island and Sheldon Fine Art in Newport, RI.

To see more of Devin Cecil-Wishing’s work, please click here.

The Big Idea: Creating a Large Painting in the Studio with Joe Paquet, March 21-26, 2020

The Big Idea: Creating a Large Painting in the Studio with Joe Paquet, March 21-26, 2020

The Big Idea Creating a Large Painting in the Studio

6-days: Saturday – Thursday, March 21-26, 2020
Hours: 9am – 4pm (1-Hour break for lunch)
$1250

Registration Open

Enjoy this 6-day workshop with Award-Winning Artist Joe Paquet!

Select Awards:
2007 Laguna Plein Air Invitational – Artist Choice and Collectors Choice
2008 Salmagundi Club of New York  – Alden Bryan Memorial Prize
2008 Richeson 75 Artist Choice competition l – Landscape First Place
2019 14th Annual Art Renewal Center International Salon Competition – Plein Air First Place
2019 Laguna Beach Invitational – Award of Excellence

Paquet is a member of both the Salmagundi Club and California Art Club and is an emeritus member of the Plein Air Painters of America/

ABOUT THE CLASS

This will be Joe Paquet’s fifth time teaching this highly-effective workshop. You will have the opportunity to implement a workable strategy for approaching a large work successfully, indoors. Daily lectures will take you from concept to finish while making sound, personal choices.

The first morning will begin with a lecture to discuss materials, palette management, composition and show examples by some of the greats. (Be sure to have a notebook!)
Each day will begin with a 45-minute lecture to discuss concepts relevant to the day’s work ahead.

Reference Material: Optimum would be a color study from life or the field, supplemental drawings and/or an excellent photo printed to at least 8×10″. If you do not have studies from life to work from, be sure whatever photo image you choose has clear patterns of light & shadow. Choose an image which excites you!

Students should email Joe their image prior to workshop to make sure it is suitable. Joe can be reached at Joe@joepaquet.com (A week is a long time to work through a mundane image).

Feel free to call Joe with any questions about the class @ 651.485.5807

Joe was the subject of the October 1995 Washington Post Sunday Magazine feature article. He’s also been featured in the March 2004 issue of American Artist magazine and the July 2005 issue of PleinAir magazine.

Select Awards:
2007 Laguna Plein Air Invitational – Artist Choice and Collectors Choice
2008 Salmagundi Club of New York  – Alden Bryan Memorial Prize
2008 Richeson 75 Artist Choice competition l – Landscape First Place
2019 14th Annual Art Renewal Center International Salon Competition – Plein Air First Place
2019 Laguna Beach Invitational – Award of Excellence

Paquet is a member of both the Salmagundi Club and California Art Club and is an emeritus member of the Plein Air Painters of America/

Learn more about Joe below.

WORKSHOPS:  Cancellations by the student more than 90 days: full refund. Under 90 days: $50 non-refundable registration fee is included in the workshop tuition.  Deposit is non-refundable within 14 days of the start of the workshop.

Balance due February 1, 2020.

The Big Idea Large Painting w/Joe Paquet – March 21-26, 2020
Phone Number

About Joe Paquet
Joseph Paquet was born in 1962 in Patterson, New Jersey to hard-working parents of immigrant stock. His father Jim was a railroad man, working as an ironworker, dock builder & mason who also painted and carved wood and stone. His mother, Theresa, was a homemaker and craftsperson who sewed and knitted.
His childhood was one of being outdoors: wondering, wandering and daydreaming. “It’s a great irony to now get paid for those things which got me into trouble when I was a kid,” Joe says.
He attended the School of Visual Arts in New York and credits artist-instructors John Foote, David Palladini, James McMullan with inspiring his deep love of drawing.
Later he studied with John Phillip Osborne in Ridgewood, New Jersey and was introduced to the Prismatic Palette. Joe states, “John opened a new world for me and set me on a path to painting outdoors – it was incredibly life changing.”
Paquet’s philosophy is one rooted in deep connection and sensitivity to his subjects. He says, “Because I work directly from nature, each painting is a chunk of my life – a piece of me and record of my experience on this earth.”

Joe was the subject of the October 1995 Washington Post Sunday Magazine feature article. He’s also been featured in the March 2004 issue of American Artist magazine and the July 2005 issue of PleinAir magazine.

Select Awards:
2007 Laguna Plein Air Invitational – Artist Choice and Collectors Choice
2008 Salmagundi Club of New York  – Alden Bryan Memorial Prize
2008 Richeson 75 Artist Choice competition l – Landscape First Place
2019 14th Annual Art Renewal Center International Salon Competition – Plein Air First Place
2019 Laguna Beach Invitational – Award of Excellence

Paquet is a member of both the Salmagundi Club and California Art Club and is an emeritus member of the Plein Air Painters of America. 

For more info on Joe Paquet, please visit his website. Follow Joe on Instagram and Facebook.

MATERIALS: 

Notebook or sketchbook — for prepatory studies or sketches
1 Large Canvas or Panel — Examples: 18×24, 20×24 ,24×30, 30×40
3 Small Panels 8×10 or 9×12
(Joe recommends panels from New Traditions Art Panels). He uses Type 15 Claessens linen

Easel: Joe recommends a good quality French Easel (Example: The Original Julian Full Box)
It can handle up to 30″ in Height and up to a 40″ Panel if used with a Bungee Cord.
However, The Art Guild has metal easels that you are welcome to borrow. (Please note, we have somewhat low ceilings in our 340+ year old building, so a very tall vertical may be problematic.)

You will be able to leave your gear set up each night.

Paints:
White (Large Tube – 220 ml) Titanium or Cremation
Cad Yellow Lt (Old Holland, Rembrandt, Graham)
Cad Yellow (Windsor Newton) Note- Not WN Winton as these are under pigmented student-grade.
Cad Orange (Winsor Newton)
Cad Scarlet (Winsor Newton)
Cad Red (Winsor Newton)
Alizarin Crimson (Winsor Newton)
Manganese Blue (Old Holland)
Cobalt Blue (Winsor Newton)
Ultramarine Blue (Winsor Newton)
Ivory Black (Winsor Newton)
Raw Umber (Old Holland)

Mediums / Solvents:
Medium – Mixed 50/50, Coldpressed Linseed Oil & Gamsol in a small bottle.
(Be sure to have ONLY Gamsol as a solvent — it outgasses the least of all solvents and we will be close together in two large rooms!)

Palette Cup(s) Preferably with screw top
Palette Knife (Long Blade )

Brushes:
Long Bristle Flats or Filberts – Recommendations, Robert Simmons Signet, Raphael Series 359, Rosemary.
(Have at least 2 of every other size 2,4,6,8,10,12)

Retouch Varnish – Small Bottle 2.5oz: Winsor Newton Artist Retouch Varnish
Varnish Brush – 2″

Brush Washer: Metal Variety with a vacuum top lid for solvents
Bungee cords

Paper Towels
Garbage Bag

Humility & Patience (Not Optional)

Floral Still Life in Pastel Workshop with Jane McGraw, PSA – Postponed

Floral Still Life in Pastel Workshop with Jane McGraw, PSA – Postponed

Floral Still Life in Pastel with Jane McGraw, PSA
Two-Day Workshop: POSTPONED

A TWO-DAY WORKSHOP ON THE PAINTING OF FLORAL/STILL LIFE USING THE VIVID COLOR AND FLEXIBILITY OF THE PASTEL.  

An introductory demonstration will explore the use of underpaintings and how they contribute to more expressive paintings Emphasis will be on simplifying forms, depth of space, line quality, composition and color value.  During the workshop students will explore using color and design in a new and different way.  Explore the secrets of the still life by seeing not only the forms, values, and edges but also the movement and atmosphere surrounding the still life pieces.

This workshop provides an understanding of the concepts and techniques of pastel painting.  Artists of all levels of painting abilities are welcome.

Day One:  Beginning the Painting

A demonstration will illustrate and discuss firstly, design choices in the selection and placement of the still life objects. Afterward, color choices will be explored in preparation of the painting by the use of underpainting techniques.

Students will have the opportunity to apply these principles by completing a study of a still life using reference material that will be supplied to them before working from life.

Day Two: Direct Observation

A morning demo will illustrate the implementation of pastel painting principles to capture the beauty of the still life. Using effective pastel strokes and blending or not blending to create and maintain fresh paint quality will also be discussed. Students will work from live setups to create their own individual interpretation and depiction of the floral still life.

Jane McGraw began drawing as a youth in Scotland.  She received her masters degree and teaching degrees in New York and studied at the Art Students League of New York with such renowned artists as Richard Pionk, Frank Mason and Harvey Dinnerstein.

A former university instructor and administrator and founder of both the Art Circle and the Muttontown School of Fine Arts at the Chelsea Center, Ms McGraw’s current artistic attentions are solely directed to painting and teaching.

Ms McGraw’s recent commissions include portraits of children in Virginia, Maryland and New York. Recent exhibitions of both pastel and oil paintings have been viewed at the Salmagundi Club and National Arts Club in New York City as well as Long Island venues including the Barnes Gallery, the Huntington Art Center and the Long Island University at C.W. Post in Long Island.  Recent acquisitions include Bank of America and the United States Department of Commerce.

She is a life member of the Art Students League of New York and a juried member of many organizations including the Oil Painters of America, The American Society of Marine Painters, the Catherine Lorillard Wolfe Art Club, the Hudson Valley Art Association and the Audubon Artists.

FOR THIS WORKSHOP:  Cancellations by the student more than 90 days: full refund. Under 90 days: $50 non-refundable registration fee is included in the workshop tuition.  Deposit is non-refundable within 14 days of the start of the workshop.