by Grace Lucarelli | Oct 30, 2018 | Past Classes and Workshops
Alla Prima Outdoors (Plein Air) with Robert J. Simone
Three Day Workshop: September 13-15, 2019
$385 M/$420 NM
This workshop will emphasize brushwork and simplification, both of which are key to successful plein air painting. Students will enjoy some unique brushwork exercises, learn a wonderfully simple block-in process and produce a finished plein air piece or two. Expect to come away with newfound clarity and confidence in what you’re doing when you work outdoors. Participants will also benefit from three days of constant immersion in running discussions about color, values and design. Robert is known as a passionate, good humored and generous with his time and knowledge.
Workshop is suitable for all levels and is geared toward those who paint with oil or acrylics.
Please note: As Robert is from Florida, and not familiar with the area, we don’t know yet where you’ll be painting. We’ll be giving him “the tour” when he arrives. We will be painting at sites around the PortWashington/ Manhasset/ Roslyn area. Possible sites include: the Port Washington town dock, Elderfields, Cedarmere, and Sands Point Preserve.
In addition to scenic and compositional considerations, parking, bathrooms, shade, and walking distance will all be taken under consideration.
Robert J Simone is the consummate professional who uses proven methods to produce fine art paintings that stand the test of time. He is a thoughtful painter whose priorities are truth and beauty. The authentic portrayal of light is a central theme in his work. Upon making a mid-life decision to pursue painting Robert realized that plein air would provide a marvelous education. To that end, he attended plein air workshops with renowned artists such as Scott L. Christensen, Stapleton Kearns, and Christopher Still. His work has been included in exhibitions at the Salmagudi Club, Oil Painters of America and Florida’s Finest Plein Air. He is a signature member of both the American Society of Marine Artists (ASMA) and the Outdoor Painters Society (OPS). A regular participant in national level plein air competitions, Simone has received awards in such prestigious events as Plein Air Easton, Lighthouse Plein Air Festival (Florida) and Plein Air Richmond. His work has been published in Plein Air Magazine and Southwest Art.
Robert is an experienced instructor who believes the best teachers encourage, inspire and inform. He is generous with his time, sincere in his complements and honest in his critiques. Long dedicated to self-study he is known as an encyclopedia of painting information and solutions. He keeps his workshops light-hearted and fun.
For more information on Robert, please visit his website.
You can download a copy of the materials list by clicking here
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.
by Grace Lucarelli | Oct 1, 2018 | Past Classes and Workshops
Alla Prima Painting: Still Life & The Figure with David Shevlino
Four Day Workshop: October 3-6, 2019, 9:30 – 4 pm
$600M/$635NM
This class is about painting alla prima (wet into wet) and the techniques used to create a fresh, direct response to our subjects.
Days one and two, will focus on the still life.
Days three and four, will focus on the figure.
On the first morning David will demo, then the class will paint. Students will learn to look at large, overall basic shapes and to simplify. Working on a toned ground, we’ll start by sketching and placing the subject on the canvas. Then we’ll block in two simple values: light and dark and then begin adding mid-tones. On day two students will continue to paint on their own with one-on-one instruction with David.
On day three there will be a morning demo on the figure. Students will then paint on their own with plenty of one-on-one instruction time with David.
By learning to simplify form, values and color, we begin to interpret and break down our subjects into more understandable tones and shapes instead of becoming distracted by details. This helps us to paint our subjects with greater clarity and directness. This class will be particularly helpful to students who wish to paint more loosely and to paint their subject with greater economy.
Materials list for this workshop is here.
About David Shevlino: David Shevlino studied at the Pennsylvania Academy of the Fine Arts (certificate ’84) and the University of Pennsylvania (BFA ’92). His work has been featured in national publications and he has exhibited his work and taught workshops throughout the U.S. He has also produced a series of videos and DVDs about his artwork and painting methods.
His exposure to art began as a teenager growing up in NJ near NYC. He began making trips to art museums in NYC when he was 15 and developed a love of traditional figurative painting. As a youth he found himself especially drawn to the old masters. Those early trips to the museum instilled in him a love of craft and a sense of where painting comes from. For most of his artistic career he has tried to take what he has learned about traditional painting and mold it into something he can call his own, which presently means exploring the place between traditional figurative painting and abstraction.
For more on David, visit his website.
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.
by Grace Lucarelli | Sep 30, 2018 | Past Classes and Workshops
The A-to-Z Textures and Surfaces Workshop
with Patti Mollica
One-Day: Saturday, September 29
10 am – 4 pm
$125M/$160NM
Filled – Please Call for Waiting List
Calling all watercolorists, mixed media artists, pastelists,
acrylic and oil painters…
Have you ever walked into the art supply store and seen all sorts of new materials and mediums
and wondered how to use them? If you answered “yes,” then this workshop is for you!
Join us for hands-on creative experimentation with acrylic textures and grounds that can take your paintings and drawings in many exciting new directions!
In this all inclusive full-day workshop you will experiment with a variety of materials that offer dramatic textural possibilities that can be used with watercolor, pastel, acrylic and even oils. If you are only familiar with working on canvas, paper or hardboard, this workshop will open your eyes to an entirely new world of unique surfaces and textures, pastes, gels and grounds that can push your work in eye-catching new directions.
Don’t miss this opportunity to try an extensive range of unique products. This workshop will introduce you to a world of fresh new ideas and creativity. Artists of all levels and mediums will come away from it with new insights to inspire their creative expressions.
• Learn how to add pizzaz and unique effects to your artistic style, whether it’s contemporary or traditional.
• Learn how to incorporate any dry media into your paintings.
• Experiment with interference and iridescent paints and how to create shimmmery glowing passages…
• and more!
Below is a partial list of Golden gels, pastes and grounds that you will experiment with in the workhop:
• Light Molding Paste – very porous, holds textural marks,
• Molding Paste – non-porous, great for sculptural effects with glazes
• Absorbent Ground – also known as “liquid watercolor paper”, and “Watercolorist’s White Out”
• Acrylic Ground for Pastels – toothy surface, great for painting or drawing
• Micaceous Iron Oxide – dark gray and slightly glittery, very gritty, great for pastel
• Glass Bead Gel – tiny beads of glass that give your painting an exotic, shimmery sheen,
• Fine Pumice Gel – toothy surface, perfect for OPEN paints,
• Fiber Paste – looks like handmade paper when dry, very absorbent, great for watercolor effects,
• Crackle Paste – beautiful and unusual cracked surface when dried.
• Coarse Pumice Gel – very absorbent, perfect for adding depth and gritty texture
Patti will provide all the paint, gels, pastes, paints, grounds and the prepared boards.
All levels and users of all media (oil, acrylic, pastel, watercolor, colored pencil and more) are welcome, no experience needed! All participants will receive free product samples and a literature packet, including hand-painted color charts.
Catch a sneak peak at the mediums you’ll be using in this workshop on August 22, when Golden Rep, Roy Kinzer visits for a FREE demo. Register here.
Students should bring:
– Disposable palette: a disposable wax paper palette 12×16 or white wax freezer paper (grocery store)
– Tape to tape down your wax paper palette (masking tape works)
– Brushes – a few bristle, a few soft, various sizes
– Any dry media: colored pencils, watercolor sticks, pastel, oil pastels, or graphite. Whatever you have is great – these will be used to experiment with on textured grounds
– Oil & acrylic painters can bring some paints to work with (but Patti will be bringing).
– Spritzer spray bottle for water (optional)
– Plastic/metal palette knife or equivalent
– Any objects that have an interesting design or shapes if you press them into a paste… i.e. plastic fork, round bottle tops, stencils, etc. We will press these into the pastes and gels to create interesting patterns and textures.
– Watercolorists – bring your favorite WC paper to use with QoR Watercolors (optional)
– Notebook for taking notes
– Roll of paper towels
– Empty (pizza) box to carry wet boards
– Plastic bag for your trash
– Bag lunch/something to drink (or we’ll order from the local pizzeria – they’ll deliver)
We have TONS of water containers – no need to bring.
LEARN! • EXPERIMENT! • HAVE FUN! ALL GOLDEN MATERIALS ARE PROVIDED
Presented by Author/Artist Patti Mollica, Certified Golden Paints Educator
Patti Mollica believes that truly great painting is not about the “subject matter,” but rather the way an artist communicates beauty, sensitivity and integrity in whatever is painted. Flowers, gardens and sunsets are no more worthy as painting subjects than a subway station full of weary commuters, or a closeup of an old rundown building with cascading fire escapes. She believes that a painter’s job is to show the viewer the inherent beauty of all subjects and scenes, most especially the ones that are not commonly thought of in an artistic light.
Although she is equally comfortable working in both oils and acrylics, she feels that the new developments in recent years to acrylics make them a perfect vehicle for infinite versatility and personal expression. This is explored and illustrated in depth in her book, Modern Acrylics. She has also recently authored Color Theory and Getting Started in Acrylics, available in art stores worldwide and online at Amazon.com.
For more about Patti, please visit her website: mollicastudio.com
$125 members/$160 non-members
Workshop is closed, please call 516-304-5797 for waiting list.SaveSave
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by Grace Lucarelli | Sep 25, 2018 | Past Classes and Workshops
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.
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.
by Grace Lucarelli | Sep 25, 2018 | Homepage
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.
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)
