Tuesday, June 7, 2011

SUMMER CLASSES. Gage Academy of Art, Seattle.

This Summer, Gage Academy of Art will have it's regular two Summer sessions, during which 5 week courses will be offered.
This is an excellent opportunity to receive condensed classes which encapsulate the regular course work at an accelerated pace, be introduced to new, specialized ideas and skills to take away and use independently, or get your feet wet on a few subjects which will provide a foundation on which to add further study during the regular, ten week quarters.
I can tell you that they are a bargain because I teach just as much information and provide homework assignments and supportive materials which more than make up for the lack of studio time.
This Summer I will be teaching:

Drawing for Beginners. Saturdays, 10am-1pm (7/2-7/30) Thursdays, 9:30-12:30 (8/4-9/1)

This course will focus on still life subject matter in the mediums of graphite and charcoal.
Essential principles such as perspective, proportion and  understanding how light operates on your subject will be covered extensively and repeatedly through exercises which will range from simple to moderately complex.
The focus will be on creating drawings that form a bridge to painting.
As such you can expect to train your eye to see and render shapes and tones with fluid edges just as you would in painting, always striving to see from large to small and to simplify what you see to create a pleasing pattern that is uncluttered with confusing information.
Demonstrations in every class. 

Portrait Painting in Oil. Thursdays, 6:30-9:30pm (6/30-7/28)

A rare weeknight scheduling of my popular Saturday, Portrait Painting in Oils, Class.
In this course we start on a toned ground, as I learned to work at both The Pennsylvania Academy of the Fine Arts and privately with Nelson Shanks in his studio in Andalusia, PA, with a limited palette gradually working in more colors as we progress through our classroom and homework studies.
The planes of the head and features are all covered repeatedly as are tone and temperature and color relationships with a particular emphasis on drawing with the paint and fluid handling.
Weekly homework copy-assignments further emphasize all of the issues we cover in class while providing examples of time honored methodology from the old masters to currently working contemporary masters.
Demonstrations in every class. 

Beginning Oil Painting.  Saturdays, 2-5pm (7/2-7/30)

A great foundational class dealing with the oil painting medium and it's various uses.
Beginning with quick tonal drawing exercises in charcoal (in order to see the large pattern of light and shade through tonal relationships) we then dive right into painting using still life subject matter that is selected to gradually increase in difficulty and pertain directly to the palette settings and techniques being introduced.
Grisaille (or painting in a gray scale) limited palette and indirect methods (glazing) are all covered.
Panel and canvas preparation, color theory, old master study-copies (as homework), mediums (oil, resins, solvents- their use and safe handling) are covered in addition to learning to see like a painter and think some steps ahead in your process.
Frequent demonstrations cover paint handling and classic techniques throughout.

 Master Palettes 1, Baroque to Rococo. Thursdays, 1:30-4:30 (6/30-7/28)

In this course we explore the use of the toned grounds and set palettes of the painters of the 17th and 18th centuries (such as Simon Vouet, pictured above, and his fellow Caravaggisti, or followers of Caravaggio) through the Rococo Era, with particular emphasis on the English portrait painters (Reynolds and Romney) and their English trained American contemporaries (Stuart, West and Sully).
These artists exploited the tones of their grounds to great advantage and laid out their palettes in a sequential fashion from sitting to sitting with great understanding of underpainting vs. overpainting and finish.
These ideas are used extensively by many outstanding contemporary realist painters (Bo Bartlett and Vincent Desiderio spring immediately to mind).
I recently taught a 5 day workshop version of this course to the Aristides Classical Atelier, to some significant acclaim from Juliette, and can tell you that it is filled with valuable, hard to find information which will serve you well whatever the style in which you wish to paint.
We paint nude figure and portrait models in this class and we get started painting on the first day.
Demonstrations and introductory presentations in every class. 

Intro to Portrait Drawing. Mondays, 6:30-9:30 pm (8/1-8/29)

This is the class I have been eager to teach again.
We use a wipe out method and work in charcoal in a very painterly approach that considers the planes and forms of the portrait at the same time it considers edge qualities and seeing from large to small.
We use the medium (charcoal, chamois, stump, white chalk, etc.) in a manner which mimics the use of paint as we learn to see and render and design with an eye toward painting.
Planes, features, tonal relationships, simplifying at first leading toward selectively emphasizing, historical precedents are all covered and repeatedly discussed and emphasized.
Demonstrations in every class.

Beginning Figure Painting. Tuesdays, 1:30-4:30 (8/2-8/30)

Beginning with short (single session) poses we learn to mass in the figure based on anatomical and proportional references and guidelines and the pattern of light and shade.
Using a simple, dual temperature, palette at first we create a clear dichotomy of light to shade, careful about our edge qualites and tonal relationships.
Onto this "drawing with the paint" foundation we build our further studies, utilizing more color and more refined rendering (which occurs in successive passes) always striving to see from large to small, macro to micro and general to specific.
A very popular and successful course.
Demonstrations in every class.

Master Palettes 2, Goya to Degas. Thursdays, 1:30-4:30 (8/4-9/1)

Part two of the Master Palettes course (offered in the same time slot) takes us through the 19th century which was book-ended by the Rococo trained, proto-romantic genius, Goya and the Renaissance obsessed, experimental, modernist Degas.
Each of these artists used their love and understanding of past masters ( for Goya it was Velasquez and for Degas it was Mantegna, Holbein, Raphael, Bellini and Ingres) to create groundbreaking works which are still being analyzed and admired.
Their palette settings and toned grounds, the concepts on which they based their choices and the ways that they used these means both traditionally and toward new ends will be covered in this class and provide an enhanced completion to Master Palettes 1.
Nude and portrait models will be the subjects and we will begin painting on the first day.
Demonstrations and explanatory presentations will be part of every class.