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THE WINNERS Of Our Over 60 Contest






PLUS On Your Toes: Drawing Feet A New Watercolor Paper

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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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


ON THE COVER 56 7 32 48 8 40 28 22 10 66

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 COVER:

Over (60) Achievers It’s never too late to pick up a brush.


ONLINE: Rusty Still Water (acrylic on canvas, 20x24) by Timothy Mulligan


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the magazine EDITOR

Maureen Bloomfield


Brian Roeth

Brian Riley

Holly Davis


McKenzie Graham


Cherie Haas

ADVERTISING Vice President/General Manager

Jamie Markle Advertising Sales Team Leader, Fine Art Division Mary McLane 970/290-6065;

Carol Lake 385/414-1439;

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Barb Prill 800/283-0963 ext. 13435

Media Sales Coordinator



Thomas F.X. Beusse Debra Delman Chief Operating Officer Joe Seibert Chief Technology Officer Joe Romello Chief Content Strategist Steve Madden VP, Manufacturing & Logistics Phil Graham VP, Sales & Business Development Chris Lambiase Chief Executive Officer Chief Financial Officer

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Patterns (oil on panel, 36x44) by Sharon Sprung

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 EDITOR

CORRECTION: 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 4

Marie Manco and Gail Postal. We congratulate these fine artists and apologize for our error. ■


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Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with the magazine name to List Manager, F+W, 10151 Carver Road, Suite 200, Cincinnati OH 45242. Printed in the USA Copyright © 2017 by F+W Media, Inc. All rights reserved. The Artist’s Magazine is a registered trademark of F+W. The Artist’s Magazine (ISSN 0741-3351) is published 10 times per year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 10151 Carver Road, Suite 200, Cincinnati OH 45242; tel: 386/246-3370. Subscription rates: one year $25. Canadian subscriptions add $15 per year postal surcharge and remit in U.S. funds. Foreign subscriptions add $20 per year postal surcharge and remit in U.S. funds. The Artist’s Magazine will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 33, No. 10. Periodicals postage paid at Cincinnati OH and additional mailing offices. Postmaster: Send all address changes to The Artist’s Magazine, P.O. Box 421751, Palm Coast FL 32142-1751. F+W Media Inc. Back issues are available. For pricing information or to order, call 855/842-5267, visit our online shop at, or send a check or money order to The Artist’s Magazine/F+W Media Products, 700 E. State St., Iola WI 54990. Please specify The Artist’s Magazine and the issue month and year. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.

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COFOUNDER OF HOOKSEPSTEIN GALLERIES, Geri 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.

WHILE YOU’RE IN HOUSTON 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

y Estrellas (Roses and Stars) (oil on canvas) by Raúl Martínez




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 ABOVE LEFT: The

Graduate by Rory Kurtz ABOVE RIGHT: Drive

by Matthew Woodson Frozen by Tom Whalen LEFT:

Movie Poster Resurgence Two new documentaries shine a light on the nearly extinct fine art practice of making movie posters.

IT SEEMS AS IF WE’VE ENTERED 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 8

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 1. A CLEAN SLATE:

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.” 2. CAPTURING THE SOUL 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. 3. GUIDED BY THE LIGHT:

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. 4. BUILDING BLOCKS:

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. ■

FAVORITE ACCOUTREMENTS: I happily 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

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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. The 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. The 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 Cefalo



thing about drawing figures is to make them look as if they’re actually standing.” The 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

COMPARATIVE ANATOMY 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 1


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amphibians and mammals. The fingernails of humans appear as claws and hooves on quadrupeds. The 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. The 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.

THE TWO MAJOR SECTIONS OF THE FOOT It helps to think of the tarsals, metatarsals and toes as one unit and the calcaneus as a unit in itself. The calcaneus is more prominent on some. It isn’t, however, to be overlooked; without

Drawing Board 2 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). The tarsal group and the calcaneus are hinged on the malleolus (ankle) joints, creating a spring-loaded, shock-absorbing arch.

THE ARCHING OF THE FOOT The 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). This apex is at the largest tarsal bone, known as the “navicular,” named for the way that it curves like the bottom of a boat. The 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).








DIGITS OF THE FOOT 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! The longest toe varies from person to person. The 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. The subject of a selfportrait is always available to you so, at any time, you can practice drawing and painting the head with

TAKE A SELFIE 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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Brushing Up variations that you want to keep. Then make alterations to any of these images by importing a copy into your app. This way, you won’t lose your starting image. In the iOS platform, some apps automatically save your images to SAVE ORIGINAL PHOTOS There 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. That 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 ELIMINATE CLUTTER 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. The 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.

2 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. Then deselect the photo layer and save the line drawing only.

by means of the Touch-Retouch app.

CROP 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. Then crop the duplicate. You may want to crop your image several different ways. OUTLINE 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. Then, 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


1b 18

EXPERIMENT WITH VALUE Value is an important element of design. The 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. EXPLORE COLOR AND TEXTURE Now it’s time to play with color and texture! The 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.


3b VALUE ADJUSTMENTS: With the app

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. This 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

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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 dierent 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 20

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. â– 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

Exhibition 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.

Artspan member art by Minako Ota

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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. The 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. BELOW:

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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. This method of drawing is sometimes called “working from the inside out” because contour is often found later in the process. The 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. This 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. Think 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. They’re less concerned with contour, as opposed to structural lines that are used to create a sense of verisimilitude. There is a reconstruction of reality rather than a one-to-one relationship with the subject. STRENGTHS, WEAKNESSES AND OVERLAPS


What are the respective advantages and disadvantages of the sight-size and the comparative methods of drawing?

There are advantages to both methods of drawing, as well as points of overlap. The 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. The 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. The 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


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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. ABOVE:

intellectual understanding of the subject as it is on direct observation from life, making it a unique record of an artist’s opinion. The artist must have a sophisticated understanding of the mechanics of drawing to achieve naturalism; otherwise, proportions can easily become distorted and the style contrived. The 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. ■ JULIETTE ARISTIDES ( 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

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Business 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.” ABOVE:





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. They include national and regional artists and student- and faculty-based exhibitions.

they want to pursue after graduation. Those 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.



say the really dedicated students have a good idea what

on any volunteering or internships

of studio-based things within their design work. There 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. The 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. They need to have drive and a vision to be successful. They 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. WHAT’S EXPECTED OF ART STUDENTS TODAY IN ORDER FOR THEM TO SUCCEED IN GALLERIES? Be prepared.

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. WHAT ARE SOME TRENDS YOU SEE HAPPENING WITH NEW ARTISTS? Many

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 successful.” —DAVID KNIGHT

Absolutely. They 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 including Communication technology. Design Senior Exhibitions.” 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. WHAT ARE SOME OF THE BEST WAYS FOR STUDENTS TO GET THEIR WORK IN GALLERIES? AND HOW EARLY SHOULD THEY START? I encourage students to

enter any exhibition they can and try for gallery shows as soon as they enter our program. They’ll be juried or judged on their artwork their whole creative career. The sooner they get started, the sooner they can learn to accept the success or rejections from exhibitions. DO YOU SEE A RANGE IN AGE WHEN IT COMES TO ART STUDENTS? Most of my

students are the typical college-aged MARCH 2017

MARCH 2017

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Business 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. WHAT’S THE SINGLE GREATEST PIECE OF ADVICE YOU’VE RECEIVED, AND WHAT IS ONE PIECE OF ADVICE YOU WISH TO GIVE TO SOMEONE CONSIDERING AN ART EDUCATION?

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 in the business today that everything looks professional.” —DAVID KNIGHT


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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.”

STORIES without WORDS By Maureen Bloomfield

A 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. LEFT:

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. “The best analogy is that I am a person in a foreign country, without language, watching.” OVERTURNING ASSUMPTIONS

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. The 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.” —SHARON SPRUNG

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, 40x32) ABOVE:


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.” LOOKING TO SEE

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. A SQUARE AS AN EQUILIBRIUM

Along with color, the square format distinguishes Sprung’s work from portrait painters in the past and now. “The 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.” The square, whose sides are equal, suggests stasis in contrast to the movement implied by the spiral and the eternity implied by the circle. The 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.” ABOVE:

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. OPPOSITE TOP:

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. ABOVE:

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). The 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. The 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.


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. The 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.” The 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.” A PORTRAIT IS A PORTRAIT

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. “The 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.” WORKING ABSTRACTLY FIRST

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, “That 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 38

other areas loose—so that the picture can breathe.” The palette knives she prefers to brushes give her “an opportunity to be more physical.” “The knife allows for a layering,” she says, “an effect that feels more like flesh.” A SONG OF PRAISE TO PORTRAITURE

The 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. Thus, 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


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. “They 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 path.”

Visit Sprung’s website at

MATERIALS 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





HALF A DOZEN YEARS AGO, TIMOTHY MULLIGAN traveled to San Francisco to see “Birth of Impressionism: Masterpieces from the Musée d’Orsay,” the first of two consecutive exhibitions at the de Young Museum. The 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. The 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 42

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 Though 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. “These locations have special meaning to me,” he says. “They’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. They felt more contemporary, more ‘me.’ After

The Bay Area Figurative Movement (1950s-1960s) was led by a group of artists in the San Francisco Bay Area who abandoned the nonobjectivity 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 characterized 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

OPPOSITE: In River 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.” ABOVE:

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 Braque.

MARCH 2017






Cargo Ship, W. Sac (acrylic on canvas, 24x20) ABOVE:


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.

MATERIALS 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 PAINTING KNIVES: Liquitex

Freestyle, Princeton Catalyst Blades (for larger paintings) BRUSHES: Princeton Dakota

and Princeton Catalyst rounds to sketch outlines, fill in lines and change areas, if necessary. 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 corner.” 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. “The 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.” ACRYLICS: TRIALS AND TRIUMPHS Like the

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. ABOVE:

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. OPPOSITE:

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 46

TIMOTHY MULLIGAN received 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 Gallery ABOVE:

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. “The 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. “The 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. “The 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 The 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

“I CAN STILL VIVIDLY RECALL 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 Thompson. “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 Thompson 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. LEFT:

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 (American, 1937–2015): portrait artist and founder of Studio Incamminati

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 Thompson. “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.”



LEARNING THE LANGUAGE OF ART That spring, with music out of the picture, Thompson 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). “Th 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,” Thompson 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, Thompson 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 Thompson. “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.’” (The 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: The 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, Thompson 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. The 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. There 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 2006 Deane G. Keller (American, 1940–2005): 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.”






By Dan Thompson

1 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)



5 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. 5. ABSTRACTION, RHYTHM AND INTERCONNECTIONS: I studied with a great

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

6 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.


prestretched linen OILS: See Thompson’s Palette

(opposite) MEDIUM: Kremer walnut oil


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 Impressionists; He studied the “color note” approach to painting under Charles W. Hawthorne and outlined its principles in a teachable form. Charles Herbert Woodbury (American, 1864–1940) marine painter; founder of the Ogunquit School (Maine) and elected a National Academician of the National Academy of Design in 1907 Eric Fischl (American, 1948– ) painter, sculptor, printmaker and senior critic at the New York Academy of Art


Thompson considers Marina, Figure Demonstration (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.” ABOVE RIGHT: In 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: The 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. There 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 painting. 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. Th 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 “The Painting of a Still Life” in The Art of Seeing and Painting (Portier Gorman Publications, 1988; out of print). The 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 reference. 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

DAN THOMPSON (danthompsonart. 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 Greenshields Foundation 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. LEFT:

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. ABOVE:

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. LEFT TOP:


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, 40x30)


Shaker Interior, No. 3 (oil on panel, 36x36) ABOVE:

Sharon Feingold Richard William Hayes Fran Hollander

Chris MisencikBunn R. Mike Nichols Jennifer Polnaszek Linda Popple

Gerard Huber Sherry Loehr

George Shipperley

Eve Miller

Frank Vurraro MARCH 2017


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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 66

THE WONDERS OF WATERCOLOR PAPER 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. LEFT:

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.

STONEHENGE AQUA IN ACTION To give Stonehenge Aqua 140-lb. CP (cold-pressed) and 140-lb. HP (hotpressed) a good test, I first taped the

edges with artist tape. Then, 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. The surface of the paper is soft and the sizing is consistent. The 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. LEFT TOP:

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. LEFT BOTTOM:

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 fi nd 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.

PAINTING IN LAYERS 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. This 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

strokes of genius | 10 THE BEST OF DRAWING inspiring subjects

Shine a spotlight 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.

DEADLINE: 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 Painting. 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 Drawing. 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 Painting. 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 museumacademy/master-artist-workshop

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 setting. Contact:

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, 800/333-5707,

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 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 textures. 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 emerge. 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 Watercolor. 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

CALIFORNIA 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 Watercolor. 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. Contact:

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). Contact: 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


WORKSHOPS 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. Contact:

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. Contact:

Caroline Jasper 2/20-2/21/17, Palm Desert. 2 Day Workshop: Powercolor Painting. Oils, acrylics, water-soluble oils. wksp.2.PclrPntng.Venus.htm 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! Contact:

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 website: 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 Advanced. 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 Advanced. 11/14-11/17/17, (Tue-Fri). Iain Stewart, From Sketchbook to Studio - Painting Light in Watercolor. Beginner to Advanced. Contact:

COLORADO 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. Contact:

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, 303/674-0056, 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


Renais Renaissance Rena issa sanc nce e Li Life fe is non-profit, ofit 5 501-c3 01organization, n wi with th a heart to see s ec creativity reat re ativ ivit ity y 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! 72

Carol Lake • • 385/414-1439 Mary McLane • • 970/290-6065

CONNECTICUT Mel Stabin 5/19-5/21/17, Guilford. Watercolor: Simple, Fast, and Focused. Sponsored by Suzanne Siegel Studio. All levels. Contact: Suzanne Siegel, or

DELAWARE Tom Lynch 10/3-10/6/17, Rehoboth Beach. Contact: 630/851-2652 or

FLORIDA 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 34236. 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


ILLINOIS William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 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


WORKSHOPS 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

INDIANA 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

LOUISIANA 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

MAINE 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, Int/Adv. 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. Contact:

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

MARYLAND Caroline Jasper 4/3-4/7/17, Havre de Grace. 5 Day Workshop: Powercolor Painting Retreat. Oils, acrylics, water-soluble oils. wksp.5.PwrclrRetreat.Vandiver.htm Sponsored by Caroline Jasper Studio. Contact: 410/459-3915 or

MASSACHUSETTS 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.

ENGLEWOOD ART CENTER 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

EAC SPRING OPEN HOUSE 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

MICHIGAN 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

MINNESOTA 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

MISSOURI Tony Couch 4/24-4/27/17, Branson. Contact: 678/513-6676,

MONTANA Robbie Laird 9/28-10/1/17, Kalispell. (MTWS). Layered Watermedia. Contact: Margo Voermans,

NEVADA Birgit O’Connor 8/15-8/18/17, Reno. August 19 Demonstration (Public 1-3 pm.) Fearless Florals. Contact: Tricia Leonard,

M A S T E R C L A S S E S AT PA FA MASTER CLASS WITH BILL SCOTT 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.

AVIAN DRAWING WITH PATRICIA TRAUB 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.

STILL LIFE PAINTING WITH CHRISTINE LAFUENTE 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. @PAFAcademy 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 choices. 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

NEW MEXICO 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. Contact:

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 518/966-5219,

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

NORTH CAROLINA 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

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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. $564. 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 Watercolors. 4/16-4/22/17, Ken Hobson, Beautiful Watercolor Landscapes & Still Lifes. 4/23-4/28/17, Billie Shelburn, Fast and Loose Ink & Wash. 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. Contact:

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

OREGON 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 Workshops experimental water media, color, plein air

Stephen Quiller Paintings

Quiller Gallery • 719.658.2741 MARCH 2017


WORKSHOPS 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 subject. 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

HUDSON RIVER VALLEY ART WORKSHOPS 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 78

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. Contact: 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

PENNSYLVANIA 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 model. 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 board. 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 pastel. 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 gesture. 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: Closed. 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.

Philadelphia 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

6 DVD Portrait Series!!!

Includes the challenges and gratification of painting a child. Manipulating photo references to work for you.

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Painting the Plein Air Portrait 5 DVD 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)

2017 PORTRAIT WORKSHOPS BAUMGAERTNER ATELIER LA CROSSE WISCONSIN 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 E-mail: MARCH 2017




Workshop DVDs

Egrets by Chris Unwin, NWS

Offering Master’s Workshops TO LEARN MORE VISIT

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

RHODE ISLAND 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 520-883-3024

See Video Clips at ChrisUnwin.NET


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

SOUTH CAROLINA 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


instruction videos from your studio.

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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


TEXAS 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

VERMONT 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. Contact:

• 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 figure 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! Contact:


• 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.

MADELINE ISLAND SCHOOL of the ARTS 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 MISA West at TANQUE VERDE RANCH, AZ

Fabio Cembranelli ...........................Feb 20-24 Mel Stabin ..............................Feb 27-March 3 David Lobenberg ........................... March 6-10 Ç£x°Ç{Ç°Óäx{ÊÊUÊÊ>Ê*œˆ˜Ìi]Ê7

The Secret to Creating Prize-Winning Paintings

William A. Schneider AISM, IAPS-MC, PSA-MP, OPA

“Master of the Double Bass” Pastel 20x16

Workshops 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 815-455-4972 MARCH 2017


WORKSHOPS 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

WASHINGTON 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 choices. Contact: Dakota Art Workshops, 888/345-0067

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 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

WISCONSIN 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. $900. 6/26-7/10/17, La Crosse. 5-Evening Portrait Sculpture Workshop with Mike Martino. 8 student limit. All levels. $200. 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 2 808-334-0292, Donaldson, IN • April 24-26 574-935-1712, Grand Marais, MN • June 13-16 218-387-2737, Newport, OR • July 11-14 219-874-4688, Astoria, OR • July 18-19 503-791-8444, Lake Geneva, WI • September 11-14 219-874-4688, Boone, NC • October 2-6 800-227-2788,

Croatia October 2017 Landscape Painting Oil and Pastel Landgrove Inn 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 EXHIBITION Kenosha Public Museum, WI May 6 through August 6, 2017


ART WORKSHOPS 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 82

Our classes last a lifetime. 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. JOHN C. CAMPBELL FOLK SCHOOL BRASSTOWN


Carol Lake • • 385/414-1439 Mary McLane • • 970/290-6065

Contact: Vickie, 262/484-1261 or

WYOMING Tom Lynch 6/5-6/9/17, Cheyenne. Contact: 630/851-2652 or

INTERNATIONAL BELGIUM 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

CANADA 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!

July Belfast 10-14 Mel Stabin AWS NWS WC 31-8/4 Tony Van Hasselt AWS WC Rockland 17-21 M C Johnson PSA Pastels/Oils 24-28 Larry Moore Oils August Portland 8-11 Alvaro Castagnet AWS WC Rockland 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 fl owers 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. Contact:

CHILE 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

CROATIA 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. Contact:

ENGLAND 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 novel! 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


September Rockland 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


WORKSHOPS 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�.



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

FRANCE 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       

Workshops In France

William Jameson 2017 Painting Workshops


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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 CÊzanne. 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

978.729.4970 84


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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 Pompeii! 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, presenting “Splash Ink with Watercolor”

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

MEXICO 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

SOUTH AFRICA 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


MEL STABIN, AWS 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

Birgit O’Connor Watercolor Free Online Course

Workshops Books & DVDS MARCH 2017


Find Great Artists at NORTH LIGHT SHOP

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. 3t

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

VISIT ArtistsNetwork

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! CUSTOM SIZE FRAMES AVAILABLE IN MANY STYLES

Order Online: 760.809.3614




The Crown Jewel of Pastel Exhibitions

CALL FOR ENTRIES DEADLINE: FEBRUARY 12, 2017 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. Prospectus:

DEADLINE: FEBRUARY 13, 2017 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

DEADLINE: MARCH 1, 2017 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

DEADLINE: MARCH 24, 2017 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

DEADLINE: MARCH 31, 2017 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 awards.

DEADLINE: APRIL 1, 2017 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

DEADLINE: APRIL 15, 2017 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.

DEADLINE: APRIL 24, 2017 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

DEADLINE: JUNE 13, 2017 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 • MY FATHER TAUGHT ME 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. ■


Motion Capture Studio 05 EFUBJM t"OESFX$POLMJO Y


See your work in The Artist’s Magazine! EARLY-BIRD DEADLINE: APRIL 3, 2017 Compete and Win in 5 Categories! ANIMAL/WILDLIFE t STILL LIFE t ABSTRACT/EXPERIMENTAL t LANDSCAPE t PORTRAIT 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

The artist's magazine easyindochinatravel  

ART AND COMMERCE are supposed to be at odds, but even purists acknowledge that the tradition of patronage— worldly popes, vainglorious kings...

The artist's magazine easyindochinatravel  

ART AND COMMERCE are supposed to be at odds, but even purists acknowledge that the tradition of patronage— worldly popes, vainglorious kings...