Workshop Magazine

Workshop, Fall 2009

Brian Riley — Fri, 21 Aug 2009 14:01:00 GMT

On the Cover:
Diego Larguia helps a student with her
painting during a recent workshop in
New Orleans.

Tony Pro: Seeing the Color of Light

Kerry Dunn: Condensing Instruction
for Part-Time Students

FEATURES

Bryan Mark Taylor: Using the Safest Oil-Painting Materials & Techniques
by M. Stephen Doherty
Because his studio is in the home he shares with his wife and young children, Californian Bryan Mark Taylor changed his working methods to use the safest oil-painting supplies and techniques. He recently showed a group of workshop participants how they might also minimize their exposure to solvents, mediums, and pigments.

Stephen Cefalo: 10 Concrete Solutions to Figure-Painting Challenges
by M. Stephen Doherty
After studying with top realist painters and teaching in several art schools, Stephen Cefalo is now establishing a community of dedicated artists in Arkansas. He recently began teaching workshops during which he shares his knowledge and experience and fosters connections between painters.

Andrea J. Smith: Expand From a Limited Palette and Focus (Available Online)
by M. Stephen Doherty
In the new atelier she opened in Rome, Andrea J. Smith teaches students to use a limited palette of colors when painting exactly what they see from a measured distance away from the subject and the easel.

Steve Huston: Capturing the Rhythm of Gesture
by Michael Zakian
By breaking the figure down into interrelated shapes, patterns, and relationships, Steve Huston showed his workshop students how to capture the living, breathing rhythm of the human form.

Tony Pro: Seeing the Color of Light
by Michael Zakian
In a recent workshop in California, portrait and figure painter Tony Pro showed students how to better observe and understand the qualities of both natural and artificial light and how to turn those observations into appropriate color choices on their canvases.

Clayton J. Beck III: Using Color Charts to Control Color Selection, Temperature, and Value
by M. Stephen Doherty
During a recent workshop in Vermont, Clayton J. Beck III showed participants how to make color charts and use them to find the right combinations of oil colors to more accurately represent the appearance of a model holding the same pose each day.

Kerry Dunn: Condensing Instruction for Part-Time Students
by M. Stephen Doherty
Artists who are not able to take advantage of full-time educational programs can participate in workshops in which teachers offer condensed versions of a school’s or atelier’s valuable instruction. Kerry Dunn recently conducted such a workshop at Studio Incamminati, in Philadelphia.

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Workshop, Summer 2009

Brian Riley — Fri, 15 May 2009 10:01:00 GMT

On the Cover:
Diego Larguia helps a student with her
painting during a recent workshop in
New Orleans.

William Jameson: The Elements of a
Great Workshop

Gavin Brooks: Painting What You
Learn and Observe in Nature

FEATURES

Russell Vujs: 10 Tips on Painting Marine Subjects in Oil With Accuracy and Atmosphere
by M. Stephen Doherty
During recent workshops on Cape Cod, Russell Vujs showed students how to paint realistic water, skies, and boats in ways that capture a convincing sense of light and atmosphere.

Diego Larguia: 15 Tips on Learning to Paint in Oil
by M. Stephen Doherty
Simplifying the painting process makes it easier to work and make judgments about color mixing, paint application, and edge control. Here’s how Diego Larguia does that in classes on still life and landscape oil painting.

Ann Manry Kenyon: The Direct Method of Portrait Painting
by M. Stephen Doherty
Using the direct, or alla prima, method of painting allows an artist to continually develop and refine a portrait while the oil paint is wet, but it is a performance that requires an artist to be well prepared and keenly focused. Florida artist Ann Manry Kenyon often demonstrates her techniques of drawing and direct painting from life in workshops and in filmed programs.

William Jameson: The Elements of a Great Workshop (Available Online)
by M. Stephen Doherty
During a recent workshop in the Lowcountry of South Carolina, William Jameson provided instruction in plein air oil painting, but he knew it was just as important to offer encouragement and direction to students while they enjoyed the experience.

Robert Liberace: Capturing the Energy and Expressiveness in Great Drawings and Paintings
by M. Stephen Doherty
The goal of Robert Liberace’s workshops, classes, DVDs, and museum tours is to help students understand how figures can be drawn and painted in such a way that they express a dynamic sense of action. He points to great works created throughout the history of art, especially those made during the Renaissance in Italy.

Qiang Huang: Myth Buster (Available Online)
by Kim Carlton
This Texas oil painter shatters multiple myths—including the notion that artists are myopic and single-minded. Qiang Huang helps workshop participants learn how to draw, how to paint, and how to sell their work using modern technology and traditional painting methods.

Gavin Brooks: Painting What You Learn and Observe in Nature
by Michelle Morton
Maryland artist Gavin Brooks recently conducted an informative plein air painting workshop at Stratford Hall, the home of Robert E. Lee, on the banks of the Potomac River, in Virginia.

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Workshop Spring 2009

Brian Riley — Mon, 23 Feb 2009 15:45:00 GMT

On the Cover:
Quang Ho in his Denver, Colorado, studio.

DEPARTMENTS

Editor's Note

Scott Christensen: Prepare, Practice, and Paint at the Highest Leveln

Four Approaches to the Same Landscape

Craig Nelson: Learning Through Repetition
and Refinement

FEATURES

Watermedia Composition
by Stephen Quiller
Stephen Quiller helps watermedia artists develop stronger compositions, the important structures of their paintings.

The Atelier School of Classical Realism: Taking Steps Toward Stronger Drawings & Paintings
by M. Stephen Doherty
Students who enroll in classes with David Hardy and Rob Anderson at the Atelier School of Classical Realism, in Oakland, California, pursue a number of different approaches to figure, landscape, and still life drawing and painting, including the sight-size method and a three-step process of developing drawings and oil paintings.

Skip Whitcomb: Think Less About Your Subject and More About Making a Personal Statement
by M. Stephen Doherty
This Colorado artist makes comparisons to literature, music, art history, and cattle ranching to help workshop students understand how to use subjects in nature as starting points for the painting process. “I show them how to use the visual elements that support their concept and eliminate those that don’t,” Whitcomb explains. “It’s similar to the way Hemingway created vivid images in the minds of people who read his spare descriptions, even if they never traveled to the locations.”

Quang Ho: Essential Information for Painters of All Levels (Available Online)
Interview by Allison Malafronte
Colorado artist Quang Ho’s new instructional DVD series offers a concise version of what students can expect in his workshops, including his eight visual approaches to painting, his views on developing understanding, and a discussion of everything he wishes he had known before he started painting.

Four Approaches to the Same Landscape
by M. Stephen Doherty
Four professional artists recently convened in a San Francisco park to paint urban landscapes. A comparison of the scenes, composition, materials, and techniques they used can help you in determining your best approach to any scene.

Craig Nelson: Learning Through Repetition and Refinement
by M. Stephen Doherty
In his workshops, filmed education programs, online courses, and university classes, Craig Nelson either reinforces the drawing and painting lessons he’s offered before, or he refines the content and format of his instruction. “We can’t learn everything all at once, so we need to review fundamentals over and over again,” he explains, “but we can also benefit from new approaches to art instruction.”

Scott Christensen: Prepare, Practice, and Paint at the Highest Level
by Allison Malafronte
For committed artists ready to achieve breakthroughs in their landscape work through extensive study of the Old Masters and intensive practice, this artist’s workshops are a revelation.

Michael Workman: A Strong Abstract Composition Comes Before Color
by Bob Bahr
The ravishing color in this Utah oil painter's landscapes relies heavily on strong compositions—a very useful message that workshop participants may find surprising, given Michael Workman's reputation as a tonalist.

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