Artists Magazine June 2010

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Display until June 7, 2010
June 2010
www.artistsmagazine.com
Self Portrait (oil, 40x32) by Steven J. Levin
An Intuitive Approach to Abstraction in Acrylic
A New (Twisted)
Take on Perspective
Best Frame
Forward
Preserve & Present
Your Work
Masters of
the Real
Daniel E. Greene
& Steven J. Levin
Mixing
Dry
Media
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features
24 Dramatic Shadow,
Expressive Light
Steven J. Levin exploits the dramatic
possibilities of extreme contrasts.
By Rosemary Barrett Seidner
32 The Fifth Perspective
Add a dynamic aspect to your work with
this twist on conventional perspective.
By Rudolf Stussi
40 The Design Is in the Details
Master realist Daniel E. Greene plans
every aspect of his complex compositions.
Interview by Maureen Bloomeld
48 Between Chaos & Serenity
Working in a square format in acrylic,
Cathy Woo solves visual puzzles.
By Ruth K. Meyer
54 The Fine Art of Framing
Present your work to its best advantage
by carefully considering the latest options
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By Rosemary Barrett Seidner
contents
54
40
JUNE 2010 VOLUME 27 NUMBER 5
02_TAM0610Contents.indd 2 3/19/10 9:58:32 AM
6 Letters
10 The Artists Life
Ulrike Arnold picks up handfuls
of dirt to paint vistas of earth
and sky; TheArtsMap.com offers
artists around the world a way
to connect with one another,
and more.
Edited by Grace Dobush
14 Exhibitions
Take to the road to see great art
this spring.
Edited by Holly Davis
18 Drawing Board
Sketch quickly in pencil en plein
air to render the essence of a
scene. By Jerry N. Weiss
60 Brushing Up
To make a memorable portrait,
suggest the universal rather than
the particular. By Stan Miller
64 Ask the Experts
How to combine graphite and
charcoal to best effect and how
to transfer a drawing.
By Anthony Waichulis
66 Supply Cabinet
Dont miss these new products
fresh to market.
68 Art Clinic
Can a still life based on his-
tory be meaningful without an
explanation? By Greg Albert
74 Workshop Guide
Find a workshop here or abroad
to suit your schedule.
80 Competition Spotlight
Beijing artist Kathy Hirsh paints
landscapes on site in pastel.
columns
on the cover
Abstraction in Acrylic 48
Masters of the Real 24, 40
Best Frame Forward 54
A New Take on Perspective 32
Mixing Dry Media 64
COVER: Self Portrait (oil, 40x32)
by Steven J. Levin
The Artists Magazine (ISSN 0741-3351) is published 10
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24 32 48
10
Look for the
online extras
icon through-
out this issue
to nd out
whats wait-
ing for you
online.
web
EXTRA
Art Clinic
Submit an image for a critical analysis at bit.ly/artclinic.
Pastels by Daniel E. Greene
Greene paints in several media; see a sampling of his paintings in pastel at
www.artistsnetwork.com/article/pj-greene.
More Art by Steven J. Levin
View additional paintings at www.artistsnetwork.com/article/steven-j-levin.
Two Rapid Drawings En Plein Air
See more of Jerry N. Weisss landscape sketches at www.artistsnetwork.com/
article/rapid-landscape-drawings.
More Fifth Perspective Paintings
Find more examples of Rudolf Stussis unconventional method for implying space at
www.artistsnetwork.com/article/rudolf-stussi.
Online Seminar: The Simple Secret to Better Painting
Take advantage of Greg Alberts hour-long seminar at www.northlightshop.com/
product/online-seminar-the-simple-secret-to-better-painting.
Download Free Wallpaper
www.artistsnetwork.com/wallpaper
JUNE
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letters
5 June 2010
Publisher & Editorial Director Jamie Markle
Editor Maureen Bloomeld
Senior Art Director Daniel T. Pessell
Managing Editor Christine McHugh
Associate Editors Holly Davis, Grace Dobush
CONTRIBUTING EDITORS
Greg Albert, Daniel Brown, Sandra Carpenter, Paul
Dorrell, John Elliot, Daniel E. Greene, Louise B. Hafesh,
Albert Handell, Sheila Hollihan-Elliot, Everett Raymond
Kinstler, Kevin Macpherson, Ross Merrill, Phil Metzger,
Ruth K. Meyer, Dean Mitchell, Birgit OConnor, Jean
Pederson, Maggie Price, Stephen Quiller, Koo Schadler,
Burton Silverman, Jerry N. Weiss, Jimmy Wright
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05_TAM0610Letters.indd 5 3/19/10 10:22:38 AM
letters
FROM THE EDITOR, OUR CONTRIBUTORS AND READERS
6 www.artistsmagazine.com
Fraudulent or Practical?
Regarding Projection: An Ethical
Issue? (Letters, April 2010), the old
masters used to assign apprentices
to scale up their drawings onto the
canvas. Was that cheating?
I would like to suggest a simple
test for the letters anonymous author,
who believes that another artists
prizewinning work was less genuine
than his or her own because the prize-
winner used a projector: Try using a
projector, and see what happens. Te
writer will probably be amazed, and
perhaps relieved, to learn that having
a projected image on an otherwise
blank canvas leaves one far, far away
from a prizewinning painting.
If he or she has an honest emo-
tion to express, good mastery of
materials and process, good drawing
skills and a strong compositional
sense, a good painting may result
but it wont be due to the projector.
Like an artists plumb line, like a
gridin fact, like a photograph thats
not projectedthe projector is an
aid, one of many, and nothing more.
Lacking any of the foregoing factors,
using a projector will do an artist no
good. But if it works for you, why,
knock yourself out! Its not cheating.
Deborah Weinstein, San Clemente, CA
An Artists Subject
Casey Baugh has a lush and masterly
painting style thats a pleasure to look
at (Practice Makes Perfect, April
2010); however, I nd his current
subject matter a bit disappointing.
Te portraits look like oil versions of
a womens fashion magazine photo
shoot. Baugh states, I like to paint
what fascinates me ... . Presumably
thats a series of awless, young, run-
way models. I hope that he starts to
expand his horizons and show work
that depicts more breadth to the
human experience, as his skills are
truly wonderful.
Cara Nilsen, via e-mail
I LAST INTERVIEWED DANIEL E. GREENE for the June 2005 issue of Te
Pastel Journal. Tough he certainly hasnt abandoned pastel, Greene cur-
rently enjoys working close to life-size in oil. Paintings like To North Moore
Street (page 44) or Dartman (below) are the painterly equivalent of theatrical
soliloquies. Greene places his actors against backdrops that mirror their iso-
lationfor example, the subway station, which is emblematic of departure,
or the carnival, where illusion and chance collide. Te recurrent image of the
game board brings these themeschoice, chance, illusion, fatetogether.
His pictures are so full of feeling that you may be surprised to see how
cerebral Greenes process is (The Design is in the Details, page 40).
A realist who takes another tack, Steven J. Levin depicts characters
who interact with art and with one another (Dramatic Shadow, Expressive
Light, page 24). Rudolf Stussi skews a Renaissance convention (The Fifth
Perspective, page 32), while Cathy Woo poses whimsy against structure
in her acrylic abstractions (Between Chaos & Serenity, page 48). Finally,
Jerry Weiss imparts a lesson for plein air (Drawing Board, page 18), as Stan
Miller does for portraits (Brushing Up, page 60). A top gallery director pres-
ents a crash course on The Fine Art of Framing (page 54), and contributing
editor Greg Albert critiques a readers work (Art Clinic, page 68). Submit
your own work for review at bit.ly/artclinic, and keep in touch, between
issues, by visiting our blog, artistsblog.artistsnetwork.com.
Time and Chance
Dartman (oil, 68x68) by Daniel E. Greene
P
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i
v
a
t
e

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o
l
l
e
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t
i
o
n
05_TAM0610Letters.indd 6 3/26/10 11:20:37 AM
letters
7 June 2010
Stellar at 60+
I hope youre still running the Over
60 competition and publishing the
results (Simply the Best, March
2010) when I reach that age. Its
exciting to think of where my art
will have taken me by then. After all,
artlike lifeis a journey, and those
who have been on the road a while
always have the most interesting
stories to tell.
Tracy Brown, via e-mail
Sharpening Pastel Pencils
I discovered something I want to
share with your readers. Ive pur-
chased several pencil sharpeners
in a vain attempt to nd one that
would successfully sharpen my pastel
pencils without breaking the soft
pastel tip. (Sharpening on the old-
fashioned sandpaper slab takes too
much time when youre in the middle
of drawing a model.) Te other day I
thought Id try sharpening my pastel
pencils with a makeup pencil sharp-
ener, which is designed to sharpen
wood yet still leave the soft tip in one
piece. It really works! I happened to
use the Shaklee Minerelles sharpener
that is designed for eye and lip pencil
crayons.
Donna J. Dubsky, Columbus, Ohio
Coming Up in
the July/August
2010 Issue
Plein air master Richard McKinley
inspires you to get outside, while
Michael Chesley Johnson tells you
what gear youll need for a satisfy-
ing painting adventure, regard-
less of your medium. Nava Grunfeld
explains her exotic approach to
color in watercolor and acrylic;
classical realist Nick Raynolds
demonstrates how to block in shapes;
and mixed media artists Laura
Breitman, Joan Hall, Kitty Kilian and
Pat Street demonstrate four distinct
approaches to collage. Finally, we
showcase the grand prize and rst
place winners of our All-Media
Online Competition and remember
the beloved California watercolorist
Henry Fukuhara. Look for the July/
August issue on sale on newsstands
June 8.
Keep In Touch
Subscribe at subscribenow.artistsmagazine.com.
Share your comments on and suggestions for The Artists Magazine. Please
write us at The Artists Magazine, 4700 E. Galbraith Road, Cincinnati OH 45236, or at
tamedit@fwmedia.com. We also count on your letters and questions for the following
sections of the magazine:
Letters: Send us your letters to the editor. All letters become the property of The
Artists Magazine, and those chosen for publication may be edited for clarity and length.
Art Clinic: To submit artwork for Art Clinic, go to bit.ly/artclinic.
Creative Workout: To submit artwork in response to a Creative Workout prompt, go
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Afternoon Storm (pastel, 24x24)
by Richard McKinley
05_TAM0610Letters.indd 7 3/19/10 1:18:25 PM
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is a required must for my
large format abstracts.
The huge color range
of Matisse is second
to none!
Joe DiGiulio
www.digiuliostudios.com
08_TAM0610.indd 9 3/19/10 1:25:28 PM
the artists life
EDITED BY GRACE DOBUSH
Heaven and Earth
German artist Ulrike Arnold takes landscape painting to the extreme.
BY KAREN LELAND
THE LANDSCAPE OF Canyon Point
in southern Utah is a sweeping desert
lled with stratied rock formations
that reach up to the sky and deep
canyons that reveal mossy brown riv-
ers. Aside from the sandstorms and
110-degree heat, its the perfect place
for German artist Ulrike Arnold to
do her work.
Painting outdoors isnt a new
idea, but Arnold takes it a step fur-
ther: She paints with the outdoors.
Over the past 30 years, she has trav-
eled to ve continentssetting up
shop in Algeria, Egypt, Madagascar,
Tasmania, Greece and India (among
other countries) and painting with
the elements she nds. I paint on
the spot, with only the colors that
are there, says Arnold, who has
shown her work in more than 90
exhibitions. Some might say thats
a limitation. What if theres no blue
around? But I capture the essence of
a place through the authentic materi-
als and the forms around me. Using
pigments from the earth contained
in rock, sand, mud and clay, Arnold
crushes them into a ne powder and
mixes them with a transparent medi-
um that acts as a binder. Te nished
product becomes part of her palette.
In June 2009 Arnold was invited
to create artwork to adorn the new
Amangiri Resort at Canyon Point.
When I started exploring the land, I
found a cave near the resort, Arnold
says. Te Anasazi people had lived
in that cave and created petroglyphs
there 6,000 years ago. I knew that
was my place. So she set up shop
and created an outdoor studio at
the mouth of the cave, putting up
a wooden table that could hold the
6x14-foot canvases shed be working
on. Renting a house a mile away,
she worked 10 hours a day for ve
months, in extreme heat, rain and
sandstorms. Te result: three large
abstract landscapes for the hotels
public areas and 50 small paintings
for each room in the resort.
I want to capture the essence
of a place, Arnold says. In Utah
at Amangiri, it was the rock forma-
tions and the color of the earth, the
rainstorms and very hot weather that
inuenced me. I could feel the power
of nature there day and nightthat
was my inspiration. She says her
abstract landscapes arent meant to
describe a river or a mountain, but to
evoke the spirit of the place through
free forms. I think of my work as a
view from an airplane, a bird looking
down at earth, Arnold says.
Her fascination with using ma-
terials of the earth began when, as a
21-year-old art student, she traveled
ABOVE: A selection of earth samples from
every continent.
RIGHT: Ulrike Arnold paints in Bryce Canyon
National Park, Utah.
10_TAM0610ArtistsLife.indd 10 3/23/10 8:04:26 AM
to southern France to see the famous
cave paintings at Lascaux. Several
years later, Arnold encountered
the red ochre pits at Roussillon in
Provence. Tat was for me a major
enlightenment, she says, a big bang.
Tats when I decided to paint with
the earth.
If Arnold has spent much of her
artistic life looking to the ground for
her medium, a chance meeting with
an American meteorite expert in
Flagsta, Arizona, recently left her
gazing up at the stars for inspiration.
I met this meteorite expert
named Marvin Killgore, who col-
lected meteorites from Argentina and
Greenland, Arnold says. When I
told him I painted with the earth,
he told me he had some leftover
meteorite dust I could use. When
Killgore sliced meteorites to prepare
them for study under a microscope,
small pieces would fall o. Hed
been saving the dust but didnt know
what to do with it. Killgore said it
was like a miracle meeting me, Ar-
nold says. Now Im painting with
material from the cosmos as well.
Using the donated dust, Arnold
has created a series of silvery and
shiny meteorite paintings (see them
on her website, www.ulrikearnold.
com). With stones from the earth
and stardust from the sky, Arnold is
painting a little bit of heaven right
here on Earth.
KAREN LELAND (www.karenleland.com) is a
writer and artist in Tiburon, California.
ABOVE: Bisbee, Arizona, fullmoonpaint-
ing (1991; earth on canvas, 59x118), by Ulrike
Arnold, is in the collection of actor Dennis
Hopper.
Radiant Oils
BY ARLETA PECH
Ever wish your paintings had the
appearance of stained glass? Radiant
Oils teaches you how to build realistic
values and create luminescent paint-
ings that glow with color. With more
than 10 mini demonstrations
and three extended painting
demos that reinforce the mini
lessons, youll discover how
to apply glazes of transparent
color to attain that perfect
glow. The demos illustrate all
the key concepts, from creating
the background to preserving
edges to establishing form and
completing a painting. Hard-
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Available at bookstores and at www.northlightshop.com
JEN LEPORE is a senior editor for North Light Books. To see all of Jens Picks and sign up
for her newsletter, go to www.artistsnetwork.com/northlight.
the artists life
11 June 2010
the artists life
FROM THE SKETCHBOOK OF
Marina
Grechanik
marinagrech.carbonmade.com
Raanana, Israel
Materials: black pen, gouache, colored pen-
cils and found paper in a Moleskine Cahier
About the sketch: I drew this in a bar-
bershop while waiting for my turn in the
chair. I love watching barbers worktheir
moves are so coordinated. Tey change their
poses fast, but I had the chance to capture
positions they repeated. Drawing a barbers
assistant washing a womans head was easier
because he stayed in one place for a couple of
minutes.
These sketchbook pages come from the correspondents of URBAN SKETCHERS
(www.urbansketchers.com), a nonprot organization devoted to fostering the art of
on-location drawing.
Arts Map
Collage artists Robin Colodzin and Jonathan Talbot were coming
up empty while looking for new ways to connect with clients,
collectors, curators and other artists. They realized that they
werent the only artists seeking connections, so they created
The Arts Map (www.theartsmap.com).
The Arts Map is a worldwide, interactive map of artists
studios, galleries, arts organizations, museums and more. You
can search and lter your results by medium, type of organiza-
tion or type of instruction. Map markers on the Arts Map are
user-generated. It takes just a few minutes to input informa-
tion about your artwork, studio or gallery, and the listings are
free. You can explore the map and add your own info at www.
theartsmap.com. G.D.
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13_TAM0610.indd 13 3/19/10 10:29:41 AM
exhibitions
EDITED BY HOLLY DAVIS
Why see it: His name a house-
hold word around the world, Pablo
Picasso (Spanish, 18811973) might
well be considered the greatest ne
artist of the 20th century. His oeuvre
includes paintings, sculptures and
prints. In a career spanning seven
decades, Picasso engaged in a variety
of styles and manners, absorbing the
inuences around him and, in turn,
asserting his own inuential genius.
Te Metropolitan Museum of Art
has long been collecting pieces from
the full scope of Picassos oeuvre and
is especially known for its cache of
the artists drawings and its selec-
tion of his early gure paintings.
Despite the Mets signicant hold-
ings, the museum has never before
put so many works from its Picasso
collection on display.
What youll see: On view are
250 works by Picasso from the
Metropolitan Museum of Arts col-
lection, including 34 paintings, 58
drawings, a dozen sculptures and
ceramics, and 150 prints.
Picasso in The Metropolitan
Museum of Art
Through August 1, The Metropolitan Museum of Art
New York City, 212/535-7710, www.metmuseum.org
ABOVE: Seated Harlequin (1901; oil on
canvas, 34x24
1
8) by Pablo Picasso
TOP, LEFT: Head of a Woman (1922; chalk on
wove paper, 42
3
8x28
3
8) by Pablo Picasso
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14_TAM0610Exhibitions.indd 14 3/19/10 1:37:00 PM
exhibitions
15 June 2010
Hendrick Avercamp:
The Little Ice Age
Through July 5
National Gallery of Art, Washington, D.C.
202/737-4215, www.nga.gov
Why see it: Ice and snow may be
gone for the season, but in the land-
scapes of Dutch artist Hendrich
Avercamp (15851634), the hard-
ships and pleasures of winter weather
go on forever. Between 1550 and
1650, Northern Europe experienced
what is known as the Little Ice
Age, a period of particularly long,
severe winters. During this time,
Avercamp became the rst painter to
specialize in depicting the joys of icy
weather skating on canals, snow-
ball ghts, sled rides and even a sport
called colf, which combines elements
of golf and hockey. Tis exhibition
is organized by the National Gallery
of Art in Washington, D.C., and the
Rijksmuseum in Amsterdam.
What youll see: On display are
15 paintings and 15 drawings by
Avercamp from museums and private
collectors in Europe and the United
States.
ABOVE: Colf Players on Ice (ca 1625; oil on
panel, 11x20
3
16) by Hendrick Avercamp
M
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14_TAM0610Exhibitions.indd 15 3/23/10 8:05:26 AM
exhibitions
Shepard Fairey:
Supply and Demand
Through August 22
Contemporary Arts Center
Cincinnati, Ohio, 513/345-8400
www.contemporaryartscenter.org
Why see it: Street artist, graphic
designer, social and political activist,
appropriation artisthowever one
chooses to describe the controversial
gure Shepard Fairey, one cant deny
his inuence on popular art and the
growing recognition of his work
among the general populace. He is
perhaps best known for his Barack
Obama "Hope" poster.
What youll see: On view are 250
pieces spanning Faireys 20-year
career, from his work with Andr the
Giant images to the Obama "Hope"
poster. Fairey has also created a large-
format mural for the Contemporary
Arts Center lobby and other outdoor
murals at sites throughout Greater
Cincinnati.
Tracing the Past, Drawing the
Future: Master Ink Painters in
20th-Century China
Through July 4
Cantor Arts Center at Stanford University
Standford, California, 650/723-4177
museum.stanford.edu
Why see it: From 20th-century
China emerged four artistsWu
Changshuo, Qi Baishi, Huang
Binhong and Pan Tianshoucredited
in their homeland as being the Four
Great Masters of Ink Painting. While
sorting through inuences from the
West, these four artists with their
creative invention brought new life to
traditional ink painting.
What youll see: Presented in two
rotations are 110 works by the four
Chinese masters.
RIGHT: Banyan Leaves
and Autumn Cicadas
(detail; 1923; ink and color
on paper, 35x14
1
6) by Qi
Baishi (18641957)
FAR RIGHT: This Land So
Beautiful (1959; ink and
colors on paper, 28
1
3x11
4
5)
by Pan Tianshou (1897
1971)
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LEFT: Mujer Fatal (2008;
mixed media stencil collage
on paper, 44x30) by Shepard
Fairey
14_TAM0610Exhibitions.indd 16 3/19/10 1:37:24 PM
For additional guidelines
and to enter online, visit
artistsnetwork.com/watermediashowcase
DEADLINE TO ENTER: AUGUST 2, 2010
Best of Show: $500
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17_TAM0610.indd 17 3/23/10 11:24:49 AM
drawing board
BY JERRY N. WEISS
ARTISTS DRAW LANDSCAPES for
a number of reasons: as a means
of rapid notation in the study of
nature, in preparation for a subse-
quent painting, or with the intent
of completing an independent
work of art. Whatever a draftsmans
motivation when venturing outdoors,
there are approaches that are help-
ful in expressing a coherent visual
interpretation of the landscape.
Determine the Center of Interest
One of the initial di culties students
experience en plein air is in determin-
ing a subject. Overwhelmed by the
magnitude of a landscape, theyll
begin drawing a specic area in great
detail with little thought to its con-
text. For this reason alone, I suggest
using small thumbnail sketches to try
out various ideas and to make deci-
sions regarding composition.
To determine the dimensions of
a composition, I form a crude win-
dow with my hands, through which
I view my subject; I can adjust the
window to accommodate horizontal
or vertical formats. Once I choose
a format, I outline the four outside
edges of the composition on paper, in
eect framing the area in which the
design will be drawn.
Step-by-Step Process
Te approach Ill demonstrate in this
article relies on the accurate use of
line and crisp handling of tones, and
builds the image through a progres-
sion of values, from light to dark. I
rendered the demo drawings, each
3 x5 inches, with a ballpoint pen
and a black Sharpie felt tip marker
on acid-free paper. I usually draw in
a 14x11-inch Daler-Rowney sketch-
book, using either a pen or various
grades of graphite pencil.
1. Map the Largest Shapes
I began my drawing with a simpli-
ed linear structurethe essential
half dozen or so lines that denote
the most prominent planes and will
record the overlapping shapes indi-
cating the depth of eld. Tis process
of abstraction isnt haphazardall
the ensuing elaboration depends
upon the correct placement of these
initial contours: a diagonal fore-
ground plane, two horizontal lines
indicating the distant ground plane
and the tree line, and two prominent
asymmetrical tree shapes.
2. Note the Secondary Shapes
Next I drew the contours of the
smaller, secondary shapes. Te
purpose of this step is to relate
Rapid Landscape Drawing
Focus on shapes and tonal relationships as you follow this
logical approach to constructing a landscape.
Rembrandts Three Planes
In Houses Under a Stormy Sky, (at right; ca 1641; pen and brown ink drawing,
7
1
6x9) by Rembrandt (16061669), a variety
of calligraphic lines and dramatic value con-
trasts create an image thats both graphically
powerful and spatially convincing. We see
essentially three planes: the shaded fore-
ground, the middle distance with alternating
patterns of light and shadow, and the lower-
ing sky. An impression of depth is achieved
through overlapping diagonals and masterly
use of contoursthe darkest and thickest
lines applied in the foreground; the lightest
and thinnest pen strokes in the distance. To
suggest the atmosphere of a cloudy sky, the
pen was set aside altogether in favor of a
sweeping series of tones applied with a brush.
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18_TAM0610DrawingBoard.indd 18 3/19/10 2:38:12 PM
drawing board
19 June 2010
masses in proper scale to each other;
its a little like assembling the pieces
of a puzzle. Set between the high
horizon line and the relatively bare
ground plane, the complexity of tree
shapes assures that this will be the
focal area of the design. Later Ill
need to prioritize the most important
secondary shapes; to overdene these
at this point would be superuous, as
some areas will soon be unied by a
common value.
3. Unify the Shadow Planes
I began adding value, designing
at shapes before describing form,
intentionally polarizing the value
structure. Te legibility of a at and
posterlike application of tone in a
1
2
Materials:
Paper: Daler-
Rowney acid-free
14x11 sketchbook
paper
Ballpoint pen
Marker: black
Sharpie felt tip
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:

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B
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drawing board
particular shape depends upon its
relation to adjacent shapes. Rapidly
crosshatching with a ballpoint pen, I
unied all the shadow planes with a
similar midtone. Te backlighting of
the trees indicates that were looking
toward the sun.
4. Darken the Shadows
Using a felt tip pen, I added deeper
shadows, further polarizing values
and more dramatically emphasizing
the sunlight. I kept the direction of
hatched strokes mostly consistent.
Tis practice, as much as the attempt
to maintain a simple tonal structure,
helps to keep the composition uni-
ed. Te sole area of vertical hatch-
ing denotes the reection of trees in
water.
5. Rene the Drawing
Te nal stage of a compositional
drawing may require further elabo-
ration of shapes and tones. I cre-
ated some tonal variation with ne
lines in both the foreground plane
and sky, still preserving them as
light-drenched areas. I darkened the
far hillside, but not so much as the
vegetation in the middle distance,
owing to the eects of atmospheric
perspective on more distant shapes.
To suggest the halo eect of back-
lighting, I left the foliage contours
as a midtone, while also indicating
3 4
Drawing for Reference
The graphic silhouettes of bare trees, their growth
patterns and peculiarities, fascinate me. In my drawing
Hamburg Cove (below, left; ink, 6x10), as sometimes
happens, the composition
expanded beyond its original
borders as I became more
interested in the trees upper
branches. Soon afterward I
returned to the site to paint
Hamburg Cove (below; oil,
24x36), based on my drawing
of the composition.
P
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drawing board
21 June 2010
specic tree shapes and creating
multiple levels of spatial depth. Te
lightest area in the middle distance
represents the glare of sunlight
reected on algae.
In retrospect, Im not thrilled
with the use of the felt tip pen; the
heavy lines do bring the focus to the
middle distance, but theyre a bit un-
subtle. Te Rembrandt drawing (page
18) convinces me that an ink wash
would have been far preferable.
Te process Ive described here
isnt the only way to draw from the
landscape, but it does refer to basic
touchstones of compositional con-
struction: breadth of design, careful
study in the drawing of shapes, and
clarity of tonal relationships. You
may take your drawings to a greater
or lesser degree of elaboration than
those shown here. A drawing of great
specicity will be desired as reference
for a painting, while one of extreme
brevity can be su cient to capture
a transient impression. Models such
as the demonstration in this article
are helpful but serve merely as
guideposts for further exploration.
Contributing editor JERRY N. WEISS teaches
studio art at the Lyme Academy College of
Fine Arts. To see his paintings, visit www.
jerrynweiss.com.
5
To see two other
rapid drawings by
Weiss, go to www.
artistsnetwork.
com/article/rapid-
landscape-drawings.
web
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22_TAM0610.indd 23 3/23/10 1:10:07 PM
L
LIKE SINGLE FRAMES from a movie reel, full
of suggested movement, shadow and light,
Steven J. Levins gurative paintings freeze
moments in time. His brush halts a rushing
businessman in mid-stride, stills a bartenders
hand as he burnishes a glass and renders im-
mortal the weak smile of a woman kept wait-
ing. Toughtful tableaux of everyday human
interactionor inactionare enhanced by the
richness of the public settings of the artists
choosing, from the grandeur of the galleries
of the Metropolitan Museum of Art and the
marbled halls of Grand Central Station, to
dimly lit city bars or smoky pool halls. Painted
light
shadow,
expressive
ABOVE: In the Museum (oil, 16x20) is the rst painting
I did of a museum interior, says Levin, and it has since
been a theme that Ive returned to many times. I enjoy the
visual pun of doing paintings within a painting. This is a
view inside the Minneapolis Institute of Arts.
BY ROSEMARY
BARRETT SEIDNER
Working with sequences of
dark and light, Steven J. Levin
creates compelling focal points.
dramatic
24_TAM0610Levin.indd 24 3/22/10 8:59:40 AM
25 June 2010
Private collection
24_TAM0610Levin.indd 25 3/22/10 8:59:51 AM
in a classical style that he says borrows a bit
from Impressionism, Levins work combines
strong draftsmanship and understanding of
form with sensitivity to color and tone, marry-
ing the rich darkness of a Rembrandt with the
penetrating light of a Degas.
For his complex scenarios, Levin shuns
natural light, preferring the moodiness, subtle-
ties, contrast and drama of articial light,
whether from a splendid chandelier or a single
light bulb. (Only his still life pieces are painted
in natural light, with the composition set up
directly under the studio skylight.) He also
chooses to paint night, dusk, dawn and other
times of low light, which challenge him to
capture the volume of a space, conned or in-
nite, by the blending of darkness and light. I
consider what the light is doingwhat it high-
lights, what it masks, explains Levin. Lights
and darks, shadow and shading pare a scene
down to its essentials and direct the eye to the
focal point.
Learning His Craft
Levins interest in art developed early, as he
spent long hours drawing alongside his father,
a commercial artist, who recognized his sons
talent and encouraged him. As a teenager,
Levin was particularly interested in the work
of the great American illustrators, and when
he enrolled at the Minneapolis College of Art
and Design, he hoped that his courses would
hone his skills for drawing and painting from
life. He soon realized that the courses oered
would not prepare him for a career as a realist,
and so he enrolled in the newly opened Atelier
LeSueur (which closed its doors in 1996) in
Minnesota, and his decision set him on his
true and distinctive course. (See Classical Art
Training, page 27.)
Levin ourished in this ateliers stimulat-
ing and demanding environment and studied
there for ve years. In the time-honored
tradition of the classically trained painter, he
completed his studies with an extended stay
BELOW: A motif Ive
returned to many
times in my work,
says Levin, is that
of a gure viewed
from the back. I like
the mystery and
anonymity this view
lends to a piece.
The All-Nighter
(oil, 29x36) depicts
three friends return-
ing home after an
all-night party. I relied
on the gestures of
the gures to tell the
story.
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24_TAM0610Levin.indd 26 3/23/10 8:06:38 AM
27 June 2010
Atelier LeSueur, like several other atelier schools, was a direct
offspring of the Boston School, recognized as originally com-
prising a group of highly inuential painters, including William
M. Paxton, Frank Weston Benson and Edmund Charles Tarbell,
who worked in and around Boston at the end of the 19th cen-
tury. Trained in the ateliers of 19th-century Paris, these paint-
ers artistic visions and working methods were inuenced by
the advent of French Impressionism. In the next century, these
artists and their students would open ateliers of their own,
thereby passing on their training methods and vision.
It was at the newly opened Atelier LeSueur (which closed
its doors in 1996) that Levin received the classical training he
craved. Taught by professional painters who believed that the
highest standards of craft were essential for the creation of
great art, students drew and painted directly from life-all day,
ve days a week. Rigorous, disciplined and rich in tradition, the
ateliers program led its students through instruction in cast
drawing in charcoal to still life, portrait and gurative work.
Classical Art Training
LEFT: Waiting (oil, 14x11)
is a study in light, says
Levin. I love the kind of
low light effects one gets
in a bar, and especially
this kind of double-light
effect where you see both
the yellow lamplight and
the soft green glow on the
gures face.
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24_TAM0610Levin.indd 27 3/23/10 8:07:46 AM
in England, where he copied famous works
in Londons National Gallery. He then joined
the faculty of Atelier LeSueur as a valued
instructor for seven years. Tough trained in
the Boston School tradition, Levin brings a
distinct perspective to his work, citing Jan
Vermeer and Edward Hopper as among his
strongest inuences.
Conceptualizing and Composing
With diverse interests, the artist varies his
choice of subject matter considerably, paint-
ing portraits, still lifes, landscapes and gures.
Te best subject is generally one for which the
idea comes quickly and completely and makes
a denite impact, says Levin. It tends to be
the kind of composition that leads to a good
work of art, something that both the artist and
the viewer can connect with on some level, via
a memory or emotion.
Te composition of each piece is para-
mount (see A Considered Composition, below).
I work entirely from life when Im doing a still
life, says Levin. As for the rest of my subjects,
theyre painted only partially from life, with
a fair amount of photo reference. Knowing
exactly the composition of a proposed painting
from the outset, the artist uses photo refer-
ences for the backgroundthe exterior of a
building, the interior of a room. Like a stage
director, he then poses and photographs mod-
els in his studio as he wants them to appear in
the scene.
Using Pencil and White Chalk
Levin works in oil except for preparatory
drawings, which are rendered in pencil or
charcoal. Oil paint is versatile, says Levin,
and the slower-drying aspect is best for my
approach because Ill often spend an entire
day on one small section of a painting. When
starting a new work, Levin rst creates small
thumbnail drawings in pencil on toned paper,
highlighted with white chalk. He then does a
small (approximately 4x5 inches) oil sketch of
MATERIALS
PAINTS: Winsor &
Newton Artists Oil
Colours, except for
Weber Permalba
mixed white
BRUSHES:
Silver Brush hog
bristle brushes, both
rounds and lberts;
any brand of small
sables for only the
most detailed
aspects
CANVAS:
Claessens No. 13
linen and Fredrix
double-primed Kent
linen
MEDIUM:
M. Graham walnut/
alkyd medium
SHELLAC:
shellac akes dis-
solved in Everclear
grain alcohol
A Considered Composition
BY STEVEN J. LEVIN
Ive developed a general process over the years for working
up my gure painting concepts. Often Ill start out with the
merest of scribbles (on paper) and gradually work through
many alterations and renements. Putting the idea down on
paper, however rough, helps me begin to get a sense of its
impact and mood. Sometimes an idea goes through numerous
changes, each one affecting the interaction of the gures and
feeling of the painting. Ive developed a habit of lling sheets
of paper with one compositional idea after another, many of
which Ill never paint, but I like the process as it keeps my mind
sharp.
1. As part of that searching out process, I do several thumbnails.
These small compositional drawings are only about one to four
inches wide. In this case, I was thinking rst of doing three
gures at a bar and working out how they might relate to each
other, always keeping in mind that one of the three would be
the center of interest and the other two would take supporting
roles. I decided to make them all waiters with different gestures
and expressions.
1
RIGHT: When doing museum interiors, as in 4 Oclock
at the Met Museum (oil, 29x38), I always work hard to
make the gures gestures believable and interesting, ex-
plains Levin, to give the work just enough action and ow
to keep the eye moving through the design. Also, I enjoy
the spatial depth you can create in a museum setting,
which allows the eye to travel deep into the painting.
24_TAM0610Levin.indd 28 3/19/10 2:12:27 PM
29 June 2010
2. Satised with this basic idea, I started working
out the lighting, choosing a dramatic stage lighting
from below. For this step in the design work, I pho-
tographed myself in costume in the various poses
to begin to get an idea of how things would actually
look. Using myself as a model saves time so that when I bring
in the actual models, I have a clearer idea of what I want them
to do. These initial photos gave me enough reference material
to work up a small color sketch in oil. These sketches I do on
colored drawing or pastel paper that Ive sealed rst with shel-
lac (I dissolve shellac akes in Everclear grain alcohol) and then
toned with paint. The oil sketch helps me tremendously in visu-
alizing the entire design in paint and in color. Often if the rst
oil sketch isnt successful, I can make changes at this stage or
simply do another sketch without wasting much time. Better to
work out problems in this early stage than wait until Im on the
nal canvas, only to discover some great aw in the concept.
Usually I block out the oil sketch in brown paint and let that dry
a bit; then I apply the color over the top. The whole oil sketch
usually takes an hour or two.
3. As you can see, I deviated only slightly from my oil study in
the nal painting, Three Waiters (above; oil, 24x35), though this
isnt always the case. Sometimes, even after all the preliminary
stepsincluding the oil sketchseeing the work full-size in
progress on the canvas can make me aware of problems in the
design that werent apparent before. When this happens, the
best thing is to be an honest critic and try to x whatever the
problem is.
2
3
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24_TAM0610Levin.indd 29 3/19/10 2:12:41 PM
the entire concept on pastel or drawing paper
sealed with shellac. Tese studies are his only
alla prima works as the nished paintings are
always completed in many stages.
Stretching the Canvas
Levin stretches his own canvases. My paint-
ings usually end up being odd sizes, he
explains, because Im so picky about their
composition. A standard 20x24-inch canvas
wont work when the composition demands a
20x25. He prefers to work on a smaller scale,
with canvases approximately 16x20 and 20x24
his rst choice. Tese sizes suit the way I
paint and the brushes Im most comfortable
using, says Levin. Bigger canvases can be-
come overwhelming and take lots and lots of
time to complete. Im very careful about what I
choose to paint on a larger scale because of the
time factor. Ill usually devote 10 to 12 days to
a 16x20 painting.
Blocking In
To begin his painting process, Levin draws
the design directly on the canvas in charcoal.
Tis drawing is very basicjust a line drawing.
Ten, using a small, pointed synthetic brush,
he retraces all the charcoal lines with very thin,
very liquid brown oil paint. After this dries
for 10 minutes or so, he wipes o all the excess
charcoal.
Next, using large brushes and somewhat
thinner paint, he broadly lays in the entire
painting. When this layer is dry, he repeats
the previous step, but with much thicker paint,
building up texture, rening the modeling and
accurately stating the lights and darks. Te
To see more of
Levins paintings, go
to www.artists
network.com/
article/steven-j-
levin.
web
EXTRA
I consider what the light is doing
what it highlights, what it masks.
Lights and darks, shadow and shading
pare a scene down to its
essentials and direct the eye
to the focal point. Steven J. Levin
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24_TAM0610Levin.indd 30 3/19/10 2:12:49 PM
31 June 2010
blocking-in portion is my favorite part of the
painting process, says Levin. You get to see
the idea take shape rather quickly over the
course of the day. Its very rewarding to see
your concept materialize full-size, in paint.
Rening and Fine-Tuning
To nish, he chooses a small section of the
painting to work on for the day and, using
thinner paint and more medium, repaints the
entire area, rening the modeling to attain
more subtlety. He continues this rening
process over the whole painting. Something
I think other painters might nd interesting,
the artist says, is that I tend to do almost no
glazing for translucent eects, but nish en-
tirely with relatively thick paint. For me, the
nishing of a painting is the most di cult.
Realizing the form as fully as possibly in paint
is something Im constantly trying to improve
and with which Im rarely satised.
ROSEMARY BARRETT SEIDNER is a director of Miller
Gallery in Cincinnati, Ohio, and a freelance writer.
Meet Steven J. Levin
Steven J. Levin has won numerous awards and prizes in nationwide competitions,
including those of the American Society of Portrait Painters, the Allied Artists
of America, the Portrait Institute and the Oil Painters of America. I believe one
of my strong points is that my spotting of values is good, he explains. Thats
an inuence from my Boston School trainingan emphasis on the beautiful
placement of lights and darks over the canvas. The artist produces work
for a one-man show each year; John Pence Gallery hosts his next show this
November and December. Last November
Levin completed a large (54x46) painting
for the upcoming traveling show and book
conceived by lm director George Lucas
and based on his Star Wars movies. Living
and working in Minneapolis, Minnesota,
Levin is represented by the John Pence
Gallery of San Francisco and Trees Place in
Orleans, Massachusetts. Learn more on his
website: stevenjlevin.com.
OPPOSITE: I painted The Times Bar (oil, 9x12)
solely because of that wonderful green underlight-
ing on the bar, says Levin. Im always searching for
interesting light effects to paint. Sadly, this bar no
longer exists.
LEFT: The city of Chicago is a treasure trove of
great architecture. The revolving door in Coming
and Going (oil, 21x17) caught my eye, Levin says,
and I incorporated it into this painting. This near
mirror-image effect is a slight foray into surrealism.
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24_TAM0610Levin.indd 31 3/19/10 2:12:57 PM
32_TAM0610Stussi.indd 32 3/22/10 9:05:07 AM
33 June 2010
P
PEOPLE OFTEN TELL ME that they would
have liked to have become artists, but they
cant draw a straight line. I always smile.
Whats drawing a straight line got to do with
it? With that ability, you can maybe aspire to
becoming a technical draftsman or assistant
architect at best. Art eschews straight lines.
My lines are almost never straight, which I can
only consider an advantage.
Okay, some people think Im stupid, blind,
drunk, mad or in dire need of a qualied opti-
cian. (My glasses are okay, but I cant vouch for
the rest.) I do believe, however, that I oer a
new twist (or curve) on perspective.
Four Perspectives Plus One
Perspective is, simply put, an attempt to
depict the three-dimensional world on a two-
dimensional surface. Tats not as easy as it
seems. Its long been obvious that things some-
how appear dierent with distance, but to the
ancient Egyptians and Persians, size indicated
importance, not closeness. And for many cen-
turies, artists of Europe, China and India were
content to place distant elements higher in the
picture plane, the highest indicating the far-
thest away. Tat worked. Te
principle is still applied today
in what we call isometric
perspective (see Building
Perspective, A, page 35).
Everything changed
abruptly in the Italian
Renaissance. Artists such as
Masolino da Panicale and
Filippo Brunelleschi discovered that, in the
eyes of the observer, objects grew measurably
smaller as they approached points on a horizon
line. With the scientic zeal of the new age,
artists expanded upon this discovery. Paint-
ers from Giovanni Bellini to Canaletto went
wild with representations of the architectural
OPPOSITE: A diagonal y-axis runs
through the tower in Rathaus Basel
(oil, 52x36), and ying elements fall
away as whimsical variations. The
building itself weaves as if it were
made of gelatin rather than stone.
Theres humor in this approach.
p
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Throw a curve
on regular perspective with this
dynamic new approach.
t
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f
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h
BY RUDOLF STUSSI
wonders of Italy. First one, then two vanish-
ing points were set upon the horizon linethe
anchor of this visionand one- and two-point
perspectives were born. Convincing illusions
of three-dimensionality revolutionized the
visual arts (see Building Perspective, B and C;
opposite page).
Even that wasnt enough. Objects didnt
diminish just from side to side horizontally;
they also got smaller verticallyup into the
clouds or down toward the valley oor. Te
designers went back to their drawing boards
and came up with the vertical y-axis, upon
which a third vanishing point could be a xed
either above the horizon line or below (but not
both, alas). Tat was the third perspective (see
Building Perspective, D).
Regrettably none of these could explain
how an object came to diminish both up and
down at the same time! Straight lines wouldnt
allow that; they bent unnaturally at the
horizon line.
But there was a solution! Curvilinear
perspective, otherwise known as four-point or
the fourth perspective, was born (see Building
Perspective, E). It saw the world as the wide-
angle lens on a camera does, and it tied in
nicely with the spheres of the eyeball and the
globewhich goes to show that nature herself
doesnt approve of straight lines.
So that made four perspectives with
credible scientic, drafting and structural
foundations. Animation artists favor simple
one-point perspective; classical painters are
partial to two-point perspective; set painters
and illustrators dabble in the third perspective;
comic artists like the in-your-face fourth per-
spective. Architects, bless their souls, embrace
that false mistress, the isometric perspective
(which totally denies the whole distance/size
axiom and, therefore, is not listed among the
four perspectives).
Perverse Alternative
Te problem for me and countless other artists
is that all four perspectives are too geomet-
ric, too calculable, too sober, too boring! Tey
dont reect the arbitrariness of life, the ux of
history and destiny, seasons and other cycles
and, of particular signicance, they dont re-
ect modern life. Tey also dont add anything
BELOW: The tree and
poles in Adelaide
(watercolor, 19x26)
represent the y-axis,
but the billboard and
the windows take
aberrant tracks. Text continued on page 37
35 June 2010
Building Perspective
Before you can put the fthor perverseperspective into practice, you must
understand the traditional perspectives, namely isometric perspective and one-,
two-, three- and four-point perspectives.
A Isometric perspective was the rst one to be used in many cultures (India,
China, Japan and Arabia), but it isnt a true perspective because nothing
gets smaller with distance. Elements can, however, be measured, which
makes this approach useful for architects.
B In one-point perspective the horizontal lines are all parallel to the horizon
(x). Vertical lines are parallel to each other. Lines indicating depth converge
toward a vanishing point (VP). Flash animation and simple childrens book
illustrations use this perspective.
C Two-point perspective has two vanishing points (VP) on the horizon line
(x), toward which lines indicating depth converge. The vertical lines remain
parallel.
D Three-point perspective has three vanishing points (VP), two on the horizon
line (x) and one on the vertical or y-axis (y). The y-axiss vanishing point can
be either above or below the horizon but not in both places. The vertical
lines of the tower can now converge toward the vanishing point.
E Four-point perspective (also called curvilinear, curved or sh-eye perspec-
tive) goes curvythe only reasonable response to the phenomenon of
things getting smaller both from side to side and above and below the
horizon line. This perspective, favored by comic and
graphic novel artists, corresponds well to the
curve of the earth and of our eyeballs.
F In the fth (perverse) perspective both
the horizon line (x) and the y-axis (y)
are curved to create the illusion
of movement. Four vanishing
points (VP) still create dimi-
nution and believability,
but the effect is poetic,
not photographic or
geometric. Individual
lines may stray from
the general move-
ment, and objects
may expand away
from the horizon
line or the y-axis
or even have their
separate sets of
vanishing points.
30
120
30
x x
VP1 VP2
x
y
y
x
VP2 VP1
VP3
x
y
y
x
VP1 VP2
VP3
VP4
x
y
y
x
VP1
VP2
VP3
VP4
x
VP
SYMBOL SUMMARY
x: the horizon line; indicates width and is associated with the x-axis
y: a line indicating the vertical or height, associated with the y-axis
VP: vanishing point
A B C
D
E
F
1. First I take photographs in case I need to refer to them later. The above
photo collage allows me to conrm details for Wall Street.
2. I then create a good sketch on location, even at this point trying to
work out the distortion in my head. First I establish the basic movement
(the swaying vertical axis and the destabilized horizon line) so that there
are no parallels to the sides of the rectangular picture. This step vastly
increases the abstract dynamics of the subject, the goal being anything
but order and quietude. To emphasize the focus, I leave out unnecessary
detail. Other aberrations may be lines that cross through and change all
shapes in their pathmostly in one directionor the arbitrary reduction
or enlargement of a surface, or the continuation of an element far beyond
its natural borders. I take a long time with this drawing stage because I
dont want to have to concern myself too much with form later.
3. Next I ll in the large areas, working from the lightest to the darkest
and ignoring ner detail (although, if Im working in watercolor, I must
respect some light details because I wont be able to get them back later).
Its important to ll in all areas so I have a true sense of the whole picture.
I work fast, and I make the areas vary subtly in color and tone to give life
to the surfaces. At this stage I can adjust the shapes, color and movement
on a simple scale. I think more about abstract principles, such as tonal
balance and color harmony, rather than about what the areas represent
in the real world. The goal is to paint the whole work on a basic, visceral
level.
4. Now I bring in the larger details, such as the owing building surface.
Here again I respect the bent y-axis and horizon line, but I can also add
nonconforming elements, such as the windows of the Stock Exchange.
These are like the variations in a jazz riff. I check the light source
and make sure Ive applied the shadows
consistently.
5. At last the ner details get their moment as
I add the stars oating from the ag, people
and architectural detailing. But I dont overdo
or add them simply because they exist in the
original. Rather, I put them in because they
add to the entire painting or to the focal area.
The painting isnt about detail or accuracy
but about feelingabout impression and
expression.
6. In the nal stage I check large movements
throughout the picture and make adjustments
where necessary in tonality, intensity and hue.
This is a good moment to create or expand on
fault lines (lines along which the image shifts).
I may also discover aspects I didnt consider
before. Being exible and open to new ideas
is important. I tighten up on gaps, edges and
missteps. Finally, I declare Wall Street (oil,
32x44) nished.
1
2
4
5
6
3
Step by Step
Toward the Perverse
37 June 2010
to the dynamics of a picture. By and large,
they dont strike a blow against what I call the
tyranny of the rectanglethat straight-line
geometry.
Te alternative is what I call the fthor
perverseperspective. Te fundamental idea
behind the fth perspective is that theres
movement through the image. Tis movement
is reected in the vertical or y-axisonly she
aint vertical! No, sirree. She bends and bobs
through the subject matter like a shing line
in a swell. Te horizon line, too, becomes part
of this craziness, though its neither horizontal
nor straight. Te other lines in the picture that
would normally run parallel to the vertical axis
or the horizon still vaguely follow the twists
and turns of those axes, but are not parallel.
Te lines deviate, run afoul and lose themselves
but, in the large scale of things, they follow
the main movement (See Building Perspective,
F, page 35, and Focus!, page 38).
Text continued from page 34 ABOVE: In Angelic
(acrylic, 28x40) the
y-axis splits the g-
ure in several places
from a vanishing
point below the
angels feet.
Perverse Advantages
What eect does the fth perspective have?
For starters, its anything but boring. You
cant calculate it; it surprisesand leads
people to a new way of looking at things.
Te fth perspective radiates dynamics
because it breaks out of the framework.
Nothing within the rectangle of the pic-
ture lines up parallel to that rectangles
sides.
It has a philosophical dimension. It ex-
presses the uidity and arbitrariness of
life, not to mention the instability of the
modern age.
Its surprisingly believable. Te per-
spective is recognizableobjects grow
smaller with distanceand yet the eect
is anything but realistic. Realism is, in
my opinion, a curse on art. After all,
photography relieves art from the burden
of realism, from the need to record.
Te fth perspective imbues objects with
personality. Te objects, be they buildings,
people, owers, mountains or whatever,
take on a marked singularity. Tis singu-
larity comes from the fantasy, the experi-
ences and the knowledge of the artist.
Te picture becomes, perforce, subjective.
Depicting the objects is the launching pad
of this art, not its destination.
For an example of how I incorporate the fth
perspective into a painting, see Step by Step
Toward the Perverse (page 36).
Perverse Connection
Art is a subjective practicenot about reect-
ing the world, but rather restructuring the
world through the experience and knowledge
as well as the fantasy of the creator. Art is
an eort to garner new insights and, most
importantly, to transmit them. Not to mince
words, art is communication, a process of
inspiring others to take a new look at things
they thought they knew. Terefore, on some
levels, art must be accessible to others. Because
my pictures have recognizable subject matter,
viewers nd a connection, which then carries
them through the more unfamiliar and bizarre
aspects of the painting and leads them to new
understanding or, perhaps even better, new
mystication! In this unique way, the fth
perspective combines the power of observation
with the freedom of the imagination.
Focus!
When working with the fth perspective, you must invariably empha-
size the focus of the work. Of course, to do this you must be conscious
of what the focusthe most important elementis. It can be such
things as an interesting detail, a play of light, a color, an expression or
a shape. Everything else in the work is secondary. You must leave out
unnecessary detail.
In Al Prado, Havana (oil, 36x48) the gure at the red table in the up-
per window is the focus. As you can see in the diagram, the lines lead
to and bulge around this focus, and color and tonal contrasts support it.
y
x
focus
x
y
VP4
VP3
VP1 VP2
39 June 2010
To see more of Stussis
paintings, go to
article/rudolf-stussi.
web
EXTRA
Meet Rudolf Stussi
Born in Zurich, Switzerland, Rudolf Stussi was
reared there and in the United States and now
resides both in Canada and Switzerland. His
cosmopolitan background is also reected in his
education. He earned a bachelor of arts degree
in literature and a bachelor of journalism degree from Carleton University in Ontario,
Canada, and a ne arts diploma from the Ontario College of Art. He has also studied
art in Florence, Mexico and at St. Martins School of Art in London. From 1988 to 1991
he was president of the Canadian Society of Painters in Water Colour. Besides his
work in ne art, he has also been involved with animation for American and European
lms and has illustrated two childrens books. He currently teaches at the Fine Arts
Studio at Centennial College in Toronto. Stussi is represented by galleries in Germany,
Switzerland and Austria, as well as by the Blue Dot Gallery and David Kaye Gallery in
Toronto. For more information, visit his website at www.rudolfstussi.com.
ABOVE: In Flurries (watercolor, 19x26), the road and roofs
lead the eye toward the area left of center behind the fore-
ground buildings, where the snowstorm is approaching.
The vertical buildings sway as if blasted by arctic wind.
RIGHT: In Piano Diva at the Palais (acrylic/oil, 36x52),
The pianists size follows the Egyptian perspective, in which
size indicates importance, not distance. Lines indicating
depth and the y-axis lead to her gure, and the undulating
keyboard is a variation suggesting music.
40_TAM0610Greene.indd 40 3/29/10 12:31:05 PM
41 June 2010
T
THE WINNER OF THE Gladys E. Cook Award for Painting from
the National Academy Museum (2007), the Gold Medal from
the Portrait Society of America (2001) and the American Society
of Portrait Artists John Singer Sargent Award (1996), Daniel E.
Greene is a master of all genres. When I talked to him at the end
of January, he was getting works together for a show at Cavalier
Galleries (www.cavaliergalleries.com) in Greenwich, Connecticut,
that will open May 20 and run through June 14.
MB Youve been working concurrently on series that place gures in
settings of the subway station, the auction house and the carnival;
youre also painting still lifes that incorporate game boards and
sewing paraphernalia. The universe youre creating is rich with
symbols. The sewing house series, for example, reminds me that
William Butler Yeats described the art of poetry as stitching and
unstitching. What led you to the sewing machine?
DEG Many yearsit must be 35ago, I acquired a small sewing
machine. I did a number of pastels, and one of them had, as its
basic theme, things found in an attic; the composition combined the
sewing machine with a Monopoly board and a Charlie McCarthy
doll. Te thought occurred to me that this beautiful old sewing
machine that Id very much enjoyed painting could be utilized
in combination with the other game boards Id been working
the design
is in the
details
INTERVIEW BY MAUREEN BLOOMFIELD
Antique Sewing House with
Game Board (oil on wood, 34x32)

Master realist
Daniel E. Greene
leaves nothing
to chance.
with. Both elements, the game boards and
the antique sewing machine, have a nostalgic
quality but, from my point of view, it was
entirely a question of the shapes and the
decorative elements in combination.
I tried setting up the sewing machine in
front of a game board. I borrowed from my
mother-in-law spools of thread and various
other elements relevant to sewing. At one
point I took these materials out of my studio
and into the house where my wife, Wende,
and I have a beautiful, antique French country
table that has an interesting patina. I arranged
the lighting in the dining room so that it was
coming from one direction. Carrying the
objects from the studio to the dining room
aorded me the opportunity to see what the
spools of thread and the sewing machine
looked like reected on a polished surface,
which produced long verticals and interesting
horizontals (see Antique Sewing House with
Game Board, page 40).
I began to move around the various
elements. When frontally faced, the tops of the
spools had dierent congurations; one was
like the spokes of a wheel; another had a circle
with a hole in it; another had a crisscross pat-
tern. Tere were thus opportunities for varia-
tionsin the designs of the tops of the spools,
the way the spools were arranged and, of
course, in the spools placement in relation to
the distribution of colorthe point being that
none of this is spontaneous. Its all arranged in
order to elicit a response from me in terms of a
design that Id nd interesting to paint.
In Sewing Machine with Scissors (opposite
page), the machine is in a halo or a spotlight, as
if it were on stage.
I wanted a dierent kind of design by
disguising, to a certain extent, that this setup
was on a tabletop. When rendering spools of
thread, one normally has to deal with draw-
ing ellipses if one is looking down or up.
Occasionally an artist, William Bailey for
example, will do still lifes at eye level so that
one doesnt have to deal with ellipses. Several
of these sewing houses are done exactly at eye
level so that one doesnt really see the tabletop
or, if so, its only a sliver. Tat results in all the
spools of thread having horizontal rather than
elliptical appearances. With Antique Sewing
Machine with Scissors, theres also a spool of
thread seen through a kind of arch in the
middle of the machine. I decided to do
everything within a circular format, and to
design spaces above and below the sewing
machine in asymmetrical ways.
Te two reproductions of sewing patterns
I carefully researched, nding those that had
interesting abstract shapes that were not evenly
divided or evenly sized. Te old pair of scissors
I tried setting up in numerous ways. I wanted
to incorporate the notches on the blades and
the interesting shapes on the handle. (Te
scissors themselves would make a sole subject for
what I think would be an interesting painting.)
The circle has a wavering quality, and it reminds
me a little of Kenneth Nolands Targets.
My intention was to juxtapose gray, black and
white values and to introduce a handful of
warm colors. I wanted a somewhat blurred
eect in order to steer a bit further from any
attempt or seeming attempt at photorealist
painting. None of these paintings has the
slightest thing to do with photorealism. Tey
are all set up in my studio, and theyre all
painted in north light.
Te handle of that sewing machine, the
wheel that one turns, is a design element. It
could be high or low; in the front or in the
back. Te sewing machine has a mostly faded,
entirely delicate, decorative oral design, and I
nd the wooden base also to be quite beautiful,
PEOPLE, PLACES
& THINGS
CHARLIE
MCCARTHY: a ven-
triloquists dummy
operated by come-
dian Edgar Bergen
(19031978)
WILLIAM BAILEY:
(1930 ) American
realist painter
famous for mono-
chromatic, linear
still lifes
ART STUDENTS
LEAGUE: founded in
1875, by artists, for
artists; located on
57th Street in New
York City, it offers
training for artists at
all levels
ROBERT
BRACKMAN:
(18981980) born
in the Ukraine;
taught at the
National Acad-
emy and the Art
Students League;
known for his por-
traits of statesmen
and celebrities
40_TAM0610Greene.indd 42 3/23/10 9:09:58 AM
43 June 2010
but its a bit complicated to depict in perspec-
tive, so I had to take both the left and the right
to several vanishing points at eye level. When
one paints impressionistically, one can suggest
perspective, but if one is painting realistically,
it has to be perfect or it doesnt look right.
These pictures are in a square format; is that to
reinforce the formal repetition implied by the
series and to echo the game boards shape?
Indeed, game boards are usually square, so that
has dictated some of the designs and sizes and
shapes. I switch back and forth between paint-
ing on wood and on linen canvas. Te wood is
untempered berboard (Masonite). I prepare
dozens of the gessoed panels (six coats of gesso,
applied with a wide brush, both vertically
and horizontally, sanded lightly between each
layer). When they become larger than 30x36,
a carpenter puts cradles on the backs so they
wont warp. Te quality about gessoed panels
I particularly like for still lifes is that the paint
builds up in thickness quickly. Nothing inter-
feres with the detail that I may wish to impart.
These matters of craft resolve themselves in
pictures that are iconic, such as a lone gure
on a platform or stageat a literal crossroads
in To North Moore Street (see page 44). You
concentrate on the composition, and it turns out
thats an effective way to convey emotion.
I dont paint on an intuitive basis. Its all
gured out and articulated. Tere are a lot
of very, very deliberate choices, but the end
product is to create a feeling of a moment in
time or a particular place or an attitude.
ABOVE: Antique
Sewing Machine
with Scissors (oil
on wood, 30x30 )
OPPOSITE: Union
Square (oil on wood,
60x40)
In North Salem, New York, its not nearly as easy to nd
professional models as it was when I lived in New York City. I
have recently been fortunate to nd some excellent models like
Elin. I decided to utilize the benet of Elins being able to pose
and to use a background that Ive used in a couple of paintings,
Franklin Street Station in New York City.
I did a number of thumbnail sketches to gure out where
to place Elin in relation to the background elements. I often
operate on the premise of utilizing contrast to solve a lot of
problems. In this case, theres a contrast in what I call opposite
thrustsElins facing left and the arrows pointing rightwhich
create strong directional opposition. Theres also a great deal
of perspective involved in the receding lines of the tiles and the
mosaics, and at eye level, where the tiles are perfectly horizon-
tal and go right through her forehead. Everything has to go to
a vanishing point way in the distance. That everything is seen
from eye level is an important component.
One of the most difcult parts was to manage to get the light
on her face to be slightly lighter than the light tile behind her. I
made the tile as dark as I could without turning it into some-
thing other than light tile. And I made the skin on the front of
her face appropriately light so theres some bas-relief or visual
depth between the background and the foreground. When a
picture has a very light background, what stands out are the
dark parts of the subject. In this case I wanted to emphasize a
little bit more of the light and not be as strong with the darks
against the light background. One way to achieve this is to
establish the value of the background and then contrast the
darks of the gure to the background; the middle tones to the
background, and the light tones to the background, which is not
the same thing as darkening the background to get the lights
to come out or lightening the background to get the darks to
stand out, as many, many artists do. Another aspect of the
design has to do with variations in texture. At the bottom right,
theres a bit of marble; then theres the orange-colored tile, and
a single blue tile.
Another challenge was the position of Elins ngers behind
her back designing that area in such a way that the silhou-
ette of the ngers and thumb was against that little bit of light
blue that symmetrically would be in that spot. I needed some-
thing light back there, and I was just barely able to catch part
of the blue tile. I changed the position of her hands a number
of times until we got just the right shapes to the ngers; other-
wise they looked like a bunch of noodles!
As one moves up to the mosaics in the middle, with To
North Moore St. and the arrow, there are more contrasts;
after the strong blue, as you continue
up, the variety and color of mosaics
change again to another shade of blue
and orange, complementary colors. Elin
is fundamentally in gray, so shes not
related to those colors except for the fact
that her suit is a yellow-gray as opposed
to a blue-gray. Warm gray relates to the
slightly yellowish and orange colors of
the tiles. Finally, Elins hair incorporates
small, thin laments of light that one can
not really see in a reproduction. I painted
individual hairs that have an almost
decorative quality.
Painting To North Moore Street
BY DANIEL E. GREENE
ABOVE AND RIGHT: To North Moore Street (oil on linen, 58x58) and a photo of the artist at
work
40_TAM0610Greene.indd 44 3/23/10 9:10:27 AM
45 June 2010
I consider that I have su cient technical
skill to be able to paint what I intend to paint,
but the important thing is the conception,
and in that I deliberately want to be my own
person. Tats part of the originality of these
paintings. Teyre all done for my edication.
Each painting is such a compelling universe. It
must be sad to let a picture go.
More than occasionally, I do miss some of the
pictures, but Im reminded thats how I make
my living. However, I did a portrait of my wife,
51st Street, which I exhibited, and during the
opening our daughter came up to me and said,
Dad, youre going to sell Mom?! So we now
have it back, and our daughters glad about that.
Youve evoked New York Citys subway stations,
but you grew up in Cincinnati; has that city
found its way into your work?
My family would take a riverboat ride down
the Ohio to Coney Island, an amusement
park, which had a fantasy-land quality. I was
smitten with the booths and the games of
chance. Many years later when I was trying to
nd subjects to paint, I naturally considered
the things that were meaningful to me from
my childhood. Te settings of the carnival and
amusement park had made a great impression
on me. I discovered a traveling carnival that
comes to Danbury, Connecticut. Ive gone
to other carnivals on occasion, as well, to
rekindle memories from my childhood and
elicit possible ideas for painting. Carnivals are
suggestive; theyre replete with possibilities.
One of the rst things I noticed was the
isolated ticket booth and the woman sitting
within. Her head seemed to be disconnected
from her body because of the exterior design
of the booth. Te bright, decorative faade
appealed to me; the color combinations
were alluring. Te carnival was there for
three weeks. I made some color studies and
drawings. I used a model Id painted before; I
arranged the pose, lighting and composition to
reconnect with the feelings Id had when Id
Antique Dish and
Rug (oil on linen,
44x46)
MATERIALS
PAINTS: Signature
oil paints from Jack
Richeson
BRUSHES:
Renaissance lberts
and cats tongue
brushes from
Silver Brush
Limited
rst seen this isolated gure. Te decoration
on the outside of the booth is designed to
direct people to enter the carnival, a happy
zone, but from the point of view of the person
inside, its no doubt a boring scene. Te subject
of Te Ticket Taker (opposite page) is in an
internal world.
Another character who seems lost in an internal
world is the auction worker in Antique Dish and
Rug (page 45).
I nd the auction house an extremely dramatic
venue, with works of art changing hands,
the excitement of people bidding against
one anotherthe whole atmosphere of ten-
sion. Years ago at one of the auctions, there
was a young man holding up a
silver platter, and I remembered
the pose and decided to have this
young model, Alek, pose with one
of the Imari (Japanese porcelain)
dishes we have against our North
Persian runner from Azerbaijan.
Alek posed in the studio, in north
light. I positioned the rug so there
was one large fold thats slightly
in shadow so I could bring out the light on
his face. Of course, the least complicated way
to depict the rug would have been to paint
it absolutely at. On the other hand, the rug
has such a busy design that the models head
wouldnt stand out very well unless the ele-
ments next to it were more in contrast and
more in light. I moved Alek around to get
some light elements against the dark side of
his gure. Because the design of the Imari
dish is also so busy, its di cult to determine
if the drawing and the symmetry are right. In
order to check that, I turned the picture in
all four directions and looked at in a mirror
inspecting the outside and inside shapes of the
dish. Symmetry is a big part of this picture;
Meet Daniel E. Greene
Greene is represented by Gallery Henoch in New York City; Miller
Gallery in Cincinnati; Wendt Gallery in Laguna Beach, California;
Nedra Matteucci Gallery in Santa Fe, New Mexico; and Cavalier
Galleries in Greenwich, Connecticut. Cavalier Galleries will
exhibit his newest paintings in a show opening May 20. Greene
will teach workshops in
North Salem, New York, July
1116, July 1823 and July
2530. To nd out more,
visit his website at www.
danielegreeneartist.com.
WHAT IS
IMARI?
Imari is Japanese
porcelain charac-
terized by a blue
coloring on a white
background.
47 June 2010
the design on the rug goes from one big block
or diamond on the left with the same design
going on the right, and these designs are kind
of in reverse. To re-create that pattern, I made
stencils for a few of the large designs so I could
turn them over and make sure they were the
right size and in the right position. I had to
look at the background in terms of big shapes,
and then I had to see it broken down into
smaller shapes, a process that was compounded
in complexity by the fact that the shapes are
symmetrical.
The convention of still life is to portray the
moment before the owers or fruits succumb
to decay. The convention of love poetry is to
extol the eeting nature of youth and desire. For
the most part, the elements in your still lifes
and the characters in your gurative work are
beautiful because of, not in spite of, their age.
So much contemporary art has a smooth
surface. I react to stains, to cracks. Im very
attracted to distressed surfaces, precisely
because I paint primitive designs and
weathered antiques. Im interested in icons
that are chipped and cracked. I love the patina
of old things, the evidence of time.
MAUREEN BLOOMFIELD is the editor in chief of The
Artists Magazine.
LEFT: Antique
Black and Red
Checkerboard
with Orchids
(pastel on wood,
24x24)
BELOW: The Ticket
Taker (oil on wood,
48x34)
M
MEDITATIVE WALKS, almost daily, along the
shores of Puget Sound in Seattle give Cathy
Woo the inspiration that she takes home to
the studio. Her paintings on panel are rich in
sensations and glimpsed moments of order in a
disorderly natural environment. Most of my
subject matter explores visual patterns, says
Woo, created with juxtaposed color and shape.
While not overt, theres an underlying theme of nature
that reveals itself because of my love of the outdoors.
Intuitive Abstraction
Arising from methods born of years in the studio, Woos
paintings glow with convincing authority, as can be seen
in a sequence of images from her recent body of work, the
Flying Colors Series. Prominent scaolds of lines emerge.
Tese lines are usually squirted on, but are also occasion-
ally implied by fragments of edges. Within this scaold,
Woo has scattered dots and dabs of paint in a random but
condent way. Te sophistication and intuition of her craft
Cathy Woo coaxes a dialogue between
organized structure and organic disarray
in adventurous, acrylic abstractions.
& serenty
BY RUTH K. MEYER
between chaos
48_TAM0610Woo.indd 48 3/19/10 3:00:17 PM
49 June 2010
ABOVE: Edgartown Regatta (acrylic, 36x36)
LEFT: Acorn Hunt (acrylic, 36x36)
OPPOSITE: Looking Glass (acrylic, 36x36)
48_TAM0610Woo.indd 49 3/19/10 3:00:27 PM
lie in the manner in which she manipulates
color and plays with the sequence and size of
shapes.
Finally, she might add a hint in the title
that there could be a recognizable subject to
which she is very gently alluding. Two recent
paintings, Edgartown Regatta (page 49) and
Hummingbird Frolic (page 51), retain notes of a
boat and a birdbut these could be overlooked
within the total impression of the paintings.
More signicant is the celebration of the joyful
accidents that these works embody.
Nonobjective Art
Woo describes her nonobjective abstract paint-
ings as physical, energetic, intuitive, adven-
turous, emotional and methodical.
Consider the words of Paul Klee (1879
1940), a painter of abstract landscapes,
explaining nonrepresentational art: Formerly,
artists depicted things that were to be seen on
earth, things people like to see or would like to
have seen. Now ... things appear enlarged and
multiplied and often seem to contradict the
rational experience of yesterday. An eort is
made to give concrete form to the accidental.
(See 20th-Century Abstraction, page 53). Klee
also explained the essence of the artists com-
munication with nature: Te artist is human;
himself nature; part of nature within natural
space.
Advocating instead a parallel path with
nature, Woos strategy is to create a conversa-
tion between organized structure and organic
dissociation. I observe every day how the uni-
verse consists of an ongoing interplay, she says,
between things coming together and things
falling apart, and then things coming together
1. Painting the Grid
I began my piece by drawing a grid with
Caran dAche red watercolor crayon and
then painted over it with a wash of zinc
white thinned with acrylic gloss medium.
Although most of my grids eventually
disappear during the process, they serve
as my organizing layer for future random
organic layers and remind me that my
painting process will naturally fall into alter-
nating rhythms of structure and accident.
2. Animating the Grid
At this point Ive jumped in and begun
to animate the grid with dots of paint of
varying sizes, values, colors and densi-
ties. Because slightly mixed color is more
interesting to me than an homogenized
hue, I mix the pigments directly on the
surface of the painting.
3. Adding the Scaffolding
I added some black bones, which be-
gan to divide the space and create some
larger shapes. I did this by squirting black
uid acrylic paint directly out of the bot-
tle onto the surface of the painting. Then
I squished and attened the lines into
random marks using plastic wrap.
4. Adding the Red
To keep the eye engaged, the red color
layer I added in this step is actually a
combination of hues: cadmium red light
and dark, cadmium orange and alizarin
crimson, quinacridone crimson and
magenta. At this point, passages begin to
ip back and forth between positive and
negative shapes, and the painting begins
to take on its identity, rather than being
just a bunch of dots.
ABOVE: This photo shows some of the
materials I used for my demo painting. The
yellow board in the background is the wood
painting support that has been prepped
with sealer and yellow gesso from Holbein.
A piece of shiny plastic wrap hangs on the
board. (See Materials, above and on page 52,
for a comprehensive list of art materials
Woo customarily uses.)
Intuitive
Abstraction
Step by Step
MATERIALS
SUPPORT:
1
8-inch
Philippine ma-
hogany plywood in
4x8-foot, cut-to-size
sheets from a lum-
ber store, sealed
with a commercial
sealer and covered
with at least two
layers of gesso,
usually colored
SEALER: com-
mercial (hardware
store) sealer, such
as a primer made
by Zinsser
GESSO: colored
gessoes by
Holbein (available
through Cheap
Joes) and by
Daniel Smith
1 2
48_TAM0610Woo.indd 50 3/19/10 3:00:39 PM
51 June 2010
again. My paintings are a natural and unavoid-
able product of those forcesreected in com-
position, materials and techniques. (To see
specic pairings of Woos photos and paint-
ings from another of her series, go to www.
alkiweb.com, click enter studio, scroll down
to Painting Images and click on Tangles 1,
2, 3 and 4.)
Solving Visual Puzzles
Usually the artist begins a painting by creating
either a grid or a pattern of dots on her
wood panel, which is always laid at to work
on. Initially, theres a lot of improvisation.
Depending on my mood, Woo says, Ill
try a combination of painting elements, such
5. Letting It Sit
The painting reached a point where
it could be considered nished, but I
wasnt excited by it. Because I wasnt yet
sure what to do with it, I let it sit for a
few days and waited for it to talk to me
and let me know what it needed.
6. Listening to My Muse
When the muse nally spoke, my painting
process resumed, pushed along by intu-
ition and instinct. I decided to make the
grid more subtle; painting out much of
the black line gave way to more gradual
passages of color and shape. The nal
white moon appeared out of nowhere
and connected Rose Hip Moon Over Alki
(at right; acrylic, 36x36) to my inspiration
in nature.
RIGHT: Hummingbird Frolic (acrylic, 36x36)
3 4
6
5
48_TAM0610Woo.indd 51 3/23/10 9:14:39 AM
as colors or shapes or patterns, and see what
happens. Since my work is mostly intuitive,
what I get down isnt as important as getting
something down to work with. She says this
trial-and-error stage always leads into a more
dened direction for the composition. (See
Intuitive Abstraction Step by Step, page 50.)
Viewing her approach to painting as set-
ting up visual puzzles, throughout the remain-
ing painting process, Woo tries to solve these
puzzles using generally applied painting prin-
ciples, as well as her artistic experience and
intuition. Some of my painting layers tighten
up and organize the composition, she explains,
while alternating layers carry the image out
into dissonance again. Usually not until the
end of the process does she start pulling out
the larger, major shapes that will establish the
foundational structure for the paintings nal
composition. I often take the painting to an
extreme, she says, and then pull it back.
A Multidimensional Grid
Woo works on a number of panels simultane-
ously and layers paints, mediums and gels over
a period of several days, a drawn-out, repeti-
tive process that leads to a questionWhen is
a painting nished? Woo says she has a multi-
dimensional grid in her head, consisting of
painting elements, principles, techniques and
media. Every painting I do arrives at a point,
she says, within an invisible framework. Each
one attains its own state of balance along a
continuum between wildness and serenity.
When the painting starts to take on a character
of its own, I try to discover that character and
then enhance it. My job isnt to impose my will
on a painting, she says, but to let its essence
emerge naturally.
RUTH K. MEYER is an art historian and art consultant who
lives on the banks of the Ohio River.
MATERIALS
(CONTINUED)
ACRYLIC PAINTS:
Golden, Liquitex
and Daniel Smith
MEDIUMS AND
GELS: Golden and
Daniel Smith acryl-
ic gloss gels and
mediums (which
dry clear) during
most of the process
for color intensity,
and a semigloss
medium for a matte
surface at the
end; if Woo leans
toward a more
glossy surface, she
uses Goldens Self-
Leveling Clear Gel
WATERCOLORS:
many brands and
colors, including
Cheap Joes
American Journey,
Daniel Smith,
Holbein, Winsor
& Newton and
Da Vinci
CRAYONS: Caran
dAche water-
soluble and regular
crayons
COLORED PENCILS:
Caran dAche
water-soluble
colored pencils
BRUSHES: natural
bristle brushes
mostly ne art
brushes, but also
those from the
hardware store
(Woo says shes
really hard on
brushes and also
applies paint with
squirt bottles.)
COLLAGE
ELEMENTS:
Japanese rice
papers
48_TAM0610Woo.indd 52 3/19/10 3:01:01 PM
53 June 2010
20th-Century
Abstraction
A century ago creating totally nonobjective, abstract art became the
goal of European artists trying to throw off the grip of the academic
styles of the 19th century. The period from 1905 to 1914 has fre-
quently been called heroic because of the quantity of innovative
art produced in Paris, Berlin and other art centers. Fauvism, Cubism,
Futurism and Expressionism are just a few of the movements associ-
ated with the period. At a time of scientic ferment stirred by discov-
eries in mathematics and physics, artists were eager to proclaim that
they, too, were experimenting no less profoundly with the arrival of a
new multidimensional reality. The traditional genre of landscape paint-
ing beneted tremendously from the avant-garde artists experiments
with new representations.
Paul Klee (18791940) stands as a spiritual mentor to contempo-
rary abstract painters like Cathy Woo, not only from the examples of
his paintings, but also from his considerable body of written theories
published during his lifetime and particularly while he was a teacher at
the Bauhaus in Germany. Along with Russian painter Wassily Kandinsky
(18661944), Klee was responsible for developing courses to teach
nonobjective, abstract painting when it was still a revolutionary prac-
tice. He rened his art theories in a practice that stressed the interde-
pendence of all the formal means: line, color, shape and design.
BELOW: Crosses and Columns (1931; watercolor on paper mounted
on card, 15x21) by Paul Klee

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Meet Cathy M. Woo
Award-winning artist Cathy M. Woo has been painting
for more than 25 years. A large part of her life and
her painting revolves around her time spent in
nature from the backroads of New England to the
California beaches to the forest and shores of Puget
Sound near Seattle, her current home. Usually I take
my camera on my walks, she says, in order to catch
the unexpected images I always discover ... I have a
direct, sensuous connection with the natural world
that has always pulled me into the outdoors. To see
how Woos work has evolved over the years, visit her
website, www.alkiweb.com.
ABOVE: Cats-Eyes (acrylic, 36x36)
LEFT: Carry a Tune (acrylic, 36x36)
48_TAM0610Woo.indd 53 3/19/10 3:01:10 PM
the ne art of
framing
Choose the best
frame to present and
protect your artwork.
BY ROSEMARY BARRETT SEIDNER
54_TAM0610Framing.indd 54 3/19/10 3:16:13 PM
55 June 2010
L
LIKE THE SETTING for a diamond, the frame
around a work of art is the nishing touch, the
element that completes and elevates a painting,
presenting it to the viewer in its best possible
light. Framing, however, is an art in and of
itself, and just as a good frame choice can
greatly enhance the appearance of a work, a
poor frame choice can drastically diminish a
work.
To Frame or Not To Frame
Ill let you in on a secret: Not every work of
art needs to be framed. For contemporary
gallery-wrapped paintings, framing is com-
pletely optional. Te term gallery wrap refers
to canvas wrapped around thick stretcher bars
and secured to the back rather than the sides
of those bars. Tis mounting leaves the sides
of the canvas smooth, neat and free of visible
staples or tacks. Artists using this type of can-
vas mount often continue the painting around
the sides or simply paint the sides a comple-
mentary neutral (See No-Frame Options, A;
page 56).
When a painting on canvas is not gallery-
wrapped, the stretchers are thinner and the
staples are visible along the sides. Te obvious
intent of the artist is that the piece will be
framed, and the frame needs to have su cient
depth to accommodate the thickness of the
canvas and stretchers.
Paintings on board or panel usually
require the structure of framing for display,
as do most paintings on paper. However, box
mounting these works for sleek eect renders
framing optional (See No-Frame Options, B;
page 56).
Which Frame?
Tere are several schools of thought with regard
to frame selectionbut no hard and fast rules.
Te preferred thinking is that the work of art,
and nothing else, should direct the selection of
the frame. Here are some guidelines:
A paintings style should suggest the frame
style. For example, a period painting or one of
classical subject matter is well suited to a time-
less, traditional, elegant gold-leafed frame or
a handsome walnut or mahogany wood frame.
Lighter, ethereal, or more abstract paintings
may look best in sleek, less fussy frames. And
for paintings that are in-between, there are
transitional framesthose that blend elements
Photos by Al Parish; photos taken at
Miller Gallery in Cincinnati, Ohio
This corner of Miller Gallery, in Cincinnati,
Ohio, shows that each work of art, with or
without a frame, is a universe unto itself.
Feel free to mix styles of artwork and
frames within a grouping. For image credits,
see the bottom of page 58.
DEFINITIONS
GALLERY WRAP:
the result of
stretching a canvas
around the sides of
stretcher bars and
then securing the
canvas to the back
of the stretchers
BOX MOUNT: a
display method in
which a piece of
artwork is either
mounted within a
at box or becomes
a face of that at
box
PROFILE: the
curve and design
of a molding, often
described in terms
of height, width and
rabbet
RABBET: the chan-
nel on a frames
underside into
which the artwork,
glass, mat and
any other framing
materials must t
54_TAM0610Framing.indd 55 3/23/10 9:17:11 AM
No-Frame
Options
Paintings on gallery-wrapped
canvas (A) and box-mounted
works (B) dont need frames.
of the traditional and the contemporary. Be
aware that each frame has a specic prole,
clearly seen when viewing the diagonal cut on
a frame sample.
Each work of art is its own universe.
When the frame is selected to be of the great-
est benet to the art, the framed piece can
be hung anywhere. A contemporary painting
hanging in a traditional room doesnt need
to have a traditional frame; nor does a tradi-
tional painting in a contemporary room need
a contemporary frame. And dont fall into
the trap of choosing a frame to match others
you already have; some of the most stunning
groupings of paintings feature pieces in a wide
variety of frame styles, sizes and nishes.
Larger paintings usually look best with
wider moldings and, therefore, larger frames.
If, however, going big wont work for you and
your space, a oater frame may help. Floater
frames usually add only 1 to 4 inches to the
height and width of a large painting, whereas a
regular frame of an appropriate size for a large
work may add as much as 7 to 12 inches to the
overall dimensions (See Conserve Wall Space,
page 57).
Depending on the style of the painting,
your framer may recommend a multilayered
frame compositionone or more frame mold-
ings used together to achieve a unique look, with
or without linen liner, plus llet (E, at right). A
frame and its linen liner should never be the
same width. Tere are no rules stating which
should be wideralthough its often the frame.
Choose a frame nish that doesnt
compete with the art in color or texture. For
example, dont choose a fussy frame with a
mottled nish to go with a busy image.
Always remember that framing has no
hard and fast rules. Feel free to experiment!
A nontraditional painting can look like a
million dollars framed in a hefty, ornate and
traditional molding, and a very small paint-
ing can take on new importance and become
a special gem when placed in an oversized
frame (F, page 57). Heres where the advice of a
professional framer is especially helpful.
Pointers for Works on Paper
Works on paperwatercolors, pastels, charcoal
drawings and so forthentail a special set
of considerations because of the perishable
quality of their surfaces.
Prior to framing, the work must be
mounted on a support. Conservation mounting
DEFINITIONS
MOLDING: the
visible, decorative
part of a frame; also
spelled moulding
FLOATER FRAME:
a frame with a back
to which the art-
work is attached so
the molding need
not touch the edge
of the work, result-
ing in the illusion of
the artwork oating
within the frame
LINEN LINER: an
inner frame, often
used with oil paint-
ings, thats covered
with white or
neutral fabric
FILLET: A small
piece of decora-
tive molding that
ts inside a larger
frame or under-
neath a mat.
MOUNTING: attach-
ing artwork to a sur-
face that provides
support for framing;
can also refer to the
means of attaching
the artwork to that
support
A B
E
RIGHT: Linen liners create visual breathing room between
an oil painting and its frame. A gold llet adds a subdued
decorative element.
57 June 2010
is strongly recommended. Tis means that
at any time in the future you would be able
to remove your artwork from the framing
structure without causing any damage. Also,
there would be no telltale signs that the work
had ever been framed before. Conservation
mounting is imperative for works of value or
anticipated future value.
Acid-free corner pockets and acid-free
adhesives are two good methods of securing
artwork to its support. As for the support itself,
archival foam board creates a sturdy structure
for a framed piece on paper and helps protect
artwork from pollutants that might nd their
way through the back of a framed piece.
In addition, most works on paper require
matting and framing under glass for protection
(see Glass Options, at right). Te matboard,
Conserve Wall
Space
A picture in a oater frame (C)
takes less space than the same
size picture in a traditional
frame (D).
C D
LEFT: Placing the work A Perfect 10 (acrylic, 3x3 )
by Robert Anderson in an ornate, oversize frame
goes against convention, but the striking result sug-
gests a jewel in an antiqued gold setting.
F
Glass Options
First and foremost, glass protects works on
paper from dust and other pollutants, but it
can also serve other important functions:
Regular glass is the type most com-
monly used. Its scratch-resistant
but breaks easily in transportation
and only lters out about half of the
damaging ultraviolet (UV) light rays.
Nonglare glass works well on pieces
placed directly in front of a window.
The drawback is that this glass tends
to soften the image and give a slightly
fuzzy appearance to the work. It also
gives low UV protection.
Conservation glazing is a coating
applied to glass that offers 97 percent
UV protection.
Museum Glass is the ultimateso
clear and glare-free that you cant see
it at all when you stand in front of a
painting. It also provides the best UV
protection. This glass is expensive, but
worth the price.
Acrylic glazing, also known by the
trade name Plexiglas, is much lighter
than glass, which makes it a good
alternative for large works of art. Its
virtually shatter proof, although it
scratches easily. Available in regular
and nonglare forms, acrylic provides
about 60 percent UV protection.
Regular glass cleaners may leave the
surface looking foggy.
What Do
Frames Do?
The primary purpose of
a frame on an oil or
acrylic painting is to
focus your attention on
the work of artto create
a unied whole that
stands alone, separate,
and invites undisturbed
contemplation.
The primary purpose
of a frame on a work
on paper is to provide
structure for the protec-
tion and presentation of
the piece as well as to
enhance its appearance.
54_TAM0610Framing.indd 57 3/23/10 4:23:25 PM
with a cutout window, is laid over the painting
and prevents the glass from touching the sur-
face of the artwork. A spacer can be used in
place of a mat. Matting also contributes to the
presentation of the artwork (see Matting Aes-
thetics, above).
Its essential that all materials used be 100
percent acid-free. You may look back at pieces
framed many years ago and see that the mat-
ting has discolored, as has the paper of the
actual artwork where it came in contact with
the matboard. Tis discoloration (acid burn),
is caused by acid in cardboard backing, non-
acid-free matting, acidic masking or Scotch
tape. Many a ne work has been devalued in
this way. All good framers now use acid-free or
archival materials.
For Best Results
Many collectors and artists have an eye for
selecting the right frame and can make sound
decisions with little guidance from a profes-
sional. Quality framing, however, can be an
expensive endeavor, so for most people the
experienced advice of a professional is invalu-
able. In either case, dont underestimate the
importance of framing your artwork in the
most suitable and visually attractive way. Take
the time to make the right selections, and your
artwork will bring pleasure for generations.
ROSEMARY BARRETT SEIDNER is a director of Miller
Gallery in Cincinnati, Ohio, and a freelance writer.
Image credits for pages 5455 (clockwise from left):
Summer Sizzler (oil, 24x36) by Hilary Eddy; Golden Eagle
(oil, 40x30) by K. Henderson; Pienza Promenade (oil, 20x30)
by John Michael Carter; Desert (mixed media, 72x48) by
Bruce Riley; Pastel Sky (oil, 12x16) by Stephen Bach; Dark
Valley (oil, 10x10) by Stephen Smalzel; Moroccan Citrus (oil,
20x24) by Melissa Hefferlin; Starry Night (oil, 16x20) by Tom
Bluemlein; Noble Reinforcements (oil, 23x15) by Allison
Leigh Smith; Look of Promise (acrylic, 20x24) by Ober-Rae
Starr Livingstone
DEFINITIONS
CORNER POCKETS:
clear, corner-shaped
pockets that adhere
to the support; cor-
ners of a work on
paper slip into the
pockets, which hold
the work in place.
MAT: also called
matte, matboard
or matting; a paper
board or sheet with
a cutout window
that separates the
artwork from the
framing glass and
also serves as a
border around the
artwork
SPACER: an
element placed in
the rabbet to keep
artwork from com-
ing in contact with
the frame or glass
Matting Aesthetics
Neutral-colored matboards are far more sophisticated and au courant
than any of the many colors available.
Its best to avoid snow-white matting, which tends to be dazzling and,
thus, distracting.
If you want to introduce color, consider double matting. The colored mat
should be placed beneath the neutral mat, and the windows of the two
mats should be cut so only about inch of color is revealed (G).
A delicate wood llet is an attractive alternative to a double mat. The
llet, which ts inside the opening of the mat board, between the board
and the artwork, can match or complement the color of the frame (H).
The mat and frame should not be of equal
widths. Preferably, the matting should be
wider than the frame (H). If frame and mat
are the same size (and this applies to the
frame and linen liner of an oil painting as well),
the eye tends to visualize stripes around the
work.
Generally, weighted matting is preferred. This
means that the bottom of the mat is deeper
than the sides and top. Weighting, even when
its subtle, provides visual balance when the
framed piece is hung on a wall (H).
LEFT: For good visual balance, the mat (or linen liner)
and frame should be different widths, and the mat
should be weighted. The weighting can be subtle, as
it is for Look of Promise (acrylic, 20x24) by Ober-Rae
Starr Livingstone. In this case the mat width measures 3 inches on the top and sides
and 4 inches on the bottom. The gold llet adds a thin strip of color.
ABOVE: Double matting is one way of introducing a
thin strip of color.
G
H
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59_TAM0610.indd 59 3/24/10 9:59:45 AM
brushing up
BY STAN MILLER
STUDENTS CONTINUALLY ask me
how I can sell noncommissioned
portraits. Why would people want to
buy portraits of individuals they dont
know?
I tell them that I dont try to
paint a specic person, but rather
to capture an emotion expressed by
my subject. When I paint the same
model many times, which I often
do, I bring out a particular emotion
or mood with each depiction. Joy,
sorrow, indecision, thoughtfulness,
nostalgia, conviction, intensitywe
all experience these feelings and
recognize them in others.
When we look at a portrait and
immediately wonder who the person
is, chances are the emotional con-
nection has become secondary to the
identity, gender, race or other physi-
cal quality of the subject. But when
we see the emotion before we see the
identity of the subject, the painting
becomes universal.
So how does one go about por-
traying people in a way that brings
out universal qualities as opposed
to unique identities? Your choice of
model, lighting, design, color and
painting style all play a part.
Portraits With
Universal Appeal
Try these tips for attracting a wide audience (and interested buyers) for your portraits.
RIGHT: The subject of Heathers Repose
(watercolor, 14x7) has a universal quality
because no single feature calls attention to
itself. Entering into her emotions is easy. Care-
ful posing and lighting, plus a mood-inducing
arrangement, also contribute to a universal
portrait. The painting won an award, and I sold
it right away.
60_TAM0610BrushingUp.indd 60 3/23/10 9:46:17 AM
brushing up
61 June 2010
1. Choose a Universal Model
Marketing experts and commercial
photographers choose models who
look familiarin other words, who
look like an average man or woman.
Tese models have no individual
facial feature or combination of fea-
tures that stand out as being highly
unusual or unique. Te second thing
to keep in mind is that were more
comfortable with someone who rep-
resents an idealized version of the
general public or who has an iconic
look for a certain typesuch as
youthful energy or midlife wisdom.
Charles, a friend of mine, is a good
example of someone who I think
looks familiar.
Ill insert here that a famous
painter neednt worry so much about
a models distracting facial features
undermining the sale of a portrait.
One of Andrew Wyeths models,
Christina, had a prominent, notice-
able nose. For the average painter,
though, that unusual look would be
hard to sell.
Once youve chosen your model,
take many photos. Have the model
look up, down, away and so forth.
Ask questions that bring to mind
memories that trigger a variety of
emotions. Te more photos you shoot,
the more likely youll capture that
perfect mood. Rarely do you want
to use a ash. Try to get your model
outside or use natural light indoors.
I took 60 to 80 photos of
Charles inside my house, using natu-
ral light, no ash. As I photographed
him, I gave prompts: Look up as if
youre looking at God; Look down
and think of something sad that hap-
pened in Michigan; Try to look as
if youre attempting to see something
a long way o.
2. Choose and Edit Your Photo
Later I looked at all my photos of
Charles and asked myself several
questions. What do I want to say?
What kind of emotion do I want to
express through Charles? What emo-
tion and what look would speak to
most people?
Once I settled on a photo with
the emotional expression and head
angle that I liked, I began to edit
out details that made the image too
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brushing up
specic. One way to do this was to
zoom in on the face. By combin-
ing Charless universal, familiar look
and zooming in on his facea face
expressing an emotion to which
almost everyone can relateI had
the basis for a painting that would be
meaningful to a large audience.
3. Edit as You Paint
Once you start painting, you can con-
tinue to edit. Choose a painting style
that isnt totally photographic. By
fading out as I moved away from the
center of Charless face and remov-
ing the details that arent critical to
capturing his mood, I moved toward
a more universal message. Note
that in the nished work, Te Spirit
of Charles, the scarf and shirt col-
lar are missing and the background
is altered to support my models
expression. Te viewers eye can move
freely through the expressive area
around the subjects face, taking in
the statement it presents about our
common emotions and humanity.
4. Exception
Te subject of Terrys Model isnt
someone I feel possesses a universal,
idealized look, yet I sold this portrait
to someone who saw it in a juried
competition. I believe the appeal of
the work lies in its loose style.
Transforming Tony
The one thing that appealed to me about Tonys look was his spiritual demeanor,
so I photographed Tony outdoors without a ash (below, left). Because his bald
head seemed too distracting, too specic, I painted in a hood to give him the look
of a monk. I also changed the color and lighting with the intent of suggesting a
person whod been through great struggles but had maintained his humanity and
compassion. For The Mystic (below, right), I wanted not only a universal look but
also a universal message within a unied and well-designed painting.
ABOVE: Reference photo for The
Mystic
ABOVE: The Mystic (egg tempera, 26x27 )
RIGHT: The
Spirit of Charles
(watercolor, 16x12)
FAR RIGHT:
Terrys Model
(watercolor, 14x12)
3
4
brushing up
63 June 2010
Once a portrait becomes more
about color, shapes and patterns than
it does about a realistic depiction, you
can more easily sell the work. Te big
qualications for success with this
approach are that the painting still
has to have a powerful moodand
it has to be wonderfully designed.
Tese qualities in themselves lend
universality to the work, hence
diminishing the need to follow my
earlier guideline about painting a
model who has a universal look.
STAN MILLER, a signature member of the
American Watercolor Society, has won numer-
ous awards throughout the United States
and has conducted workshops in Europe for
Plein Air Painters of America. He continues to
hold workshops around the United States. For
more information visit www.stanmiller.net.
Specic vs. Universal
Berits Grandson (above; watercolor, 9x15)
is a commissioned work based on a photo
taken with a ash, the subject looking directly
into the camera. My client liked the paint-
ing very much, but I cant imagine others
wanting to buy it unless they know and care
about this particular child. For purposes of
general salability, the subject is too specic and the ash takes away any sense of
atmosphere or universality.
Before painting Brenda (above, right; watercolor, 16x8), a noncommissioned
work, I shot many photos in natural light. From those photos I found the perfect
mood and lighting, not to mention a much more natural pose than the one seen
in Berits Grandson. Not long after I painted this portrait, I was able to sell it to
someone who responded to its universal quality.
Conservation
Varnish
provides the color
saturation and look
of dammar without
yellowing
Quick Dry
helps paint
layers dry safely
2-3 times faster
Learn more at krylon.com/conserv35
Krylon
Gallery Series
. The Art of Protection.

The right treatment is
just a spray away
ask the experts
BY ANTHONY WAICHULIS
Q. Is the use of graphite and
charcoal in the same artwork
possible? I tried doing this once,
and the graphite was too slick and
shiny for the charcoal to stick. Was
I doing something wrong?
A. Graphite and charcoal can
absolutely be used within the same
artwork (See Portait Study, below).
Te contrasting characteristics of the
diering media can lead to interest-
ing, useful and attractive
combinations; however,
the manner in which
theyre applied or com-
bined is where di culties
may arise.
Softer materials
(like charcoal) need a
drawing surface with a
rougher tooth (surface
texture) that allows
the medium to adhere.
Harder materials (like
graphite) will adhere to a
much smoother surface.
Tese harder materials
can quickly ll, atten or
compress a papers tooth.
As a result, the applica-
tion of softer materials
over harder materials is
problematic. For exam-
ple, charcoal added over
heavily applied graphite
probably wont give the
intended result because
the tooth that the charcoal requires
will no longer be available.
In general, if one material bur-
nishes the tooth thats required for
the eective application of another
material, that secondary material will
not adhere eectively. Understanding
this basic dynamic between vary-
ing materials and surfaces will help
you to plan a good strategy for mix-
ing any media. A salvo of successful
combinations awaits! And remember,
using diering media within any
given work doesnt necessarily mean
that the materials need to be layered;
using those materials in dierent
areas of a single piece may elimi-
nate a potential adhesion problem
altogether.
SKIN TONES IN GRAPHITE
Q. Im struggling with creating the
right skin tones when working
with graphite. I want to depict skin
thats slightly tan, but
my results seem too
dark. Do you have any
advice?
A. Te answer to this
question lies in looking
at a few variables. First, I
would recommend that
you try to observe your
subject as objectively
as you can. I nd that
many people struggle
with making objective
observations due to the
inuence of what Ill call
conceptual contamina-
tion. Te value that you
believe corresponds to
the subjects tan may be
much lighter (or darker)
than what you observe in
person. As a result, you
may be applying a value
that is based more on a
subjective concept than
an objective observation.
To counteract
conceptual contamina-
tion, look at a few easily
determined values within
your subject that can act
as anchors for compari-
son. Darkest darks and
lightest lights are usually
the easiest to determine.
Graphite & Charcoal Together
In Portrait Study (graphite and charcoal, 9x6), Justin Balliet gave his
graphite drawing charcoal touches, as seen on the pupil and top of the iris
of the models right eye, as well as in the nostril and in the darkest shadows
of the mouth. Most of the charcoal was added over thinly applied graphite
that hadnt attened or lled in the papers tooth. The darkest charcoal
accents have no underlying graphite.
Got art questions? Log on to
our Ask the Experts forum at
forum.artistsnetwork.com. Or
mail or e-mail us your legal or
technical art questions (see
instructions on page 7).
web
EXTRA
64_TAM0610AsktheExperts.indd 64 3/19/10 3:35:23 PM
ask the experts
65 June 2010
Ten look at the tan skin tones youre
trying to capture. How much lighter
or darker are these areas when com-
pared to some key anchor values?
When you take objective steps to
conrm your decisions or challenge
conceptual assumptions, you may
nd youve drifted from accuracy to
license.
Second, remember that all value
is relative. Any value can be easily
inuenced by its surrounding lights
and darks. Perhaps the skin tones
look too dark because of some inu-
ential value in the surrounding area.
Ive seen many artists labor over a
particular value for quite some time,
only to realize that the problem lies
not in the area that they are focused
on, but with some surrounding
values.
Tird, I would recommend con-
sidering the nature of a tan. Is the tan
even over all the areas youre trying to
capture? Often I notice that certain
areas of the face and body receive
more sun than others, creating vary-
ing gradations of the tan. Be alert to
where the tan is most noticeable and
how fast the darker areas fade to less
tanned areas. Tis exercise revisits
my rst point: Objective observa-
tion plays a key role in successfully
depicting skin tones.
TRANSFER METHODS
Q. Whats the best way to transfer
a drawing onto a painting surface?
A. Most often, the best method is
the one that best meets your spe-
cic needs. Are you resizing from
the original drawing? Are there
changes to be made, or do you just
need a faithful outline? Here are
two e cient ways to get that draw-
ing onto your painting surface. Each
method addresses dierent needs:
Grid system: If you need to resize the
drawing to t your surface or you
want a little increased freedom to
alter the drawing during the transfer
process, then the grid system might
be the way to go. All you need to
do is draw a grid on your
source (the drawing) and a
corresponding grid on your
destination (the painting
surface). You can draw your
source grid right onto your
original drawing if you wish,
or to preserve your drawing,
you can place a piece of clear acetate
over your drawing and draw the grid
with a pen or marker.
Te source grid can be any size
you wish, depending on how much
guidance you desire. Te smaller the
squares, the more guidance youll
have; the larger the squares, the less
guidance.
So lets say you have an 8x10-
inch drawing that you want to scale
up to 16x20 inchesdouble the
dimensions of your original draw-
ing. To do this, you place a grid of
1x1-inch squares on the original and
a grid of 2x2-inch squares on the
painting surface (usually in graphite
or charcoal). Youll now have the
same number of squares on both the
drawing and the surface. Draw your
image onto the canvas, maintaining
as much delity within the squares as
you wish.
Take great care to ensure that
your grids are as perfect as you can
make them. A awed, uneven grid
yields greatly distorted results!
Transfer paper: If the sizes of your
drawing and painting surfaces are
identical and you just want a quick
and faithful duplicate of your draw-
ing, then a simple transfer method
may be ideal. You can nd graphite
transfer paper at most art stores. Use
this graphite-coated paper as you
would use carbon paper: Just place
the transfer paper between your
drawing and your painting surface
(with the graphite coating against the
painting surface). Secure the draw-
ing and the transfer paper in place,
and trace over your initial drawing.
When you lift away the drawing and
transfer paper, the image will be on
your canvas.
You can make your own trans-
fer paper by coating a clean sheet
of drawing paper with graphite (the
softest graphite you have will work
best)or you can just coat the back
of your drawing.
With any transfer method, you
must avoid pressing too hard, or you
may incise or indent your painting
surface. Apply just enough pressure
to transfer your mark. Also take care
as you secure your drawing to the
painting surface because distortions
will occur if the original shifts at all
during the transfer process.
ANTHONY WAICHULIS won the 2006 certica-
tion as a living master by the Art Renewal
Center and has established a national repu-
tation for his trompe loeil paintings. An art
instructor at his own atelier, the Waichulis
Studio in Mountain Top, Pennsylvania, hes
represented by John Pence Gallery in San
Francisco. Visit www.thewaichulisstudio.net to
learn more.
web
EXTRA
Confused about drawing materials? Check out the
downloadable PDF Graphite, Charcoal and Cont
Crayons, from the May 2009 Mediapedia column, avail-
able at www.northlightshop.com/product/mediapedia-
graphite-charcoal-conte-crayons-digital-download.
With any transfer method,
you must avoid pressing too
hard, or you may incise or
indent your painting surface.
64_TAM0610AsktheExperts.indd 65 3/19/10 3:35:38 PM
supply cabinet
BY GRACE DOBUSH
Daniel Smith
Watercolor
Sticks
These handmade watercolor sticks combine the best
attributes of drawing and painting materials, allowing
a multitude of applications. Dig in with ve new colors:
moonglow, cobalt teal blue, serpentine genuine,
piemontite genuine and sodalite genuine.
$12.49 each
800/426-7923, www.danielsmith.com
Goes well with
Creative Edge: Exercises
To Celebrate Your Creative
Self by Mary Todd Beam
($29.99, North Light Books,
800/258-0929, www.
northlightshop.com)
Hollanders Leather-Wrap
Journal Complete Kit
Make a leather-bound diary with this kit,
which includes cowhide, a pre-sewn text
block, PVA glue and step-by-step instruction
booklet. All you need is a glue brush and a
craft knife.
$40
734/741-7531, www.hollanders.com
MAKE
YOUR OWN
SKETCHBOOK!
66_TAM0610SupplyCabinet.indd 66 3/19/10 3:55:22 PM
supply cabinet
67 June 2010
Seeking supplies: If youre
a manufacturer with a new product
to share, e-mail tamedit@fwmedia.com
or mail a sample to Supply Cabinet,
The Artists Magazine, 4700 E. Galbraith
Road, Cincinnati OH 45236.
MoMA Color-Changing
Umbrella
When wet, the paint splatter pattern
on this umbrellas exterior changes
from white to bright green, yellow,
blue, pink and orange.
$38
800/851-4509, www.momastore.org
Citra Solv
Concentrate
This biodegradable cleaner and degreaser can
also be used to create image transfers onto
your artwork. Learn how at www.citra-solv.
com/newcitraartist.
From $7.39
800/343-6588, www.citra-solv.com
66_TAM0610SupplyCabinet.indd 67 3/19/10 3:54:08 PM
art clinic
BY GREG ALBERT
A WORK OF ART OFTEN reveals the
artists thoughts and passions. Gary
Kutscher demonstrates this principle
with September 22, 1862Te Will
of God Prevails. Tis richly detailed,
historically accurate painting com-
memorates Abraham Lincoln and
the Emancipation Proclamation.
Strengths
Kutschers work is powerful on
several levels. First, the technical
virtuosity is impressive. Te image
is convincing but doesnt look like a
hand-painted copy of a photograph.
In other words, its realistic but not
photographic. When I see a painting
that looks as if the artist has slavishly
made a facsimile of a photograph,
I think, Why bother?
Why not just present the
photograph? Tis paint-
ing, on the other hand,
is a carefully rendered
picture that captures the
detail exquisitely but
hasnt had the emotion
sucked out of it. Te
viewer can detect the
artists hand (and heart)
in the work.
Second, the subject
of the painting addresses
both a momentous event
in American history as
well as the personality
of, arguably, Americas
greatest president. Te publication of
the Emancipation Proclamation was
a pivotal event in the course of the
American Civil War, but what we see
in the painting are the quiet details
behind this event: the handwritten
draft of the Emancipation Proclama-
tion (on the desk), Lincolns famous
stovepipe hat, Robert E. Lees inter-
cepted orders (in the hat), Lincolns
spectacles, a soldier doll that be-
longed to Lincolns children and so
Glimpse of History
Read Gary Kutschers expla-
nation of the signicance of
elements in his painting at
article/kutscher.
Submit artwork for Art Clinic
at bit.ly/artclinic.
web
EXTRA
September 22, 1862The Will of God
Prevails (oil, 40x30) depicts President
Abraham Lincolns desk after the writing of
the Emancipation Proclamation. See more of
Kutschers work at www.kutscherneart.com.
on. We see the private humanity of
Lincoln, not the public gure who
led America back to peace and unity.
Suggestions
Tis picture succeeds because it
combines technical skill with inspir-
ing subject matter. My one concern
about this work is the importance of
knowing some historical details to
appreciate fully what is being depict-
ed. I read Kutschers fascinating notes
about his painting (see Web Extra,
at bottom, left). If I hadnt, would
I know the signicance of the ele-
ments? I could make the connection
with Lincoln because of the more
obvious clues, but without the artist
telling me the signicance of the ob-
jects in the hat, I doubt
I would have recognized
the soldier doll as a toy
Lincolns children played
with or have identied
Robert E. Lees orders.
For viewers really to
get it, both the image
and the explanation
must be seen and read.
Without the words,
does the painting work?
Without a label do we
fully understand the
contents? If the answer is
no, then the artist has to
consider how the whole
packagethe picture
and the wordscan be
delivered together.
GREG ALBERT, the author of
The Simple Secret to Better
Painting (North Light Books,
2003, www.northlightshop.
com), lives in Cincinnati, Ohio.
See Alberts seminar at www.
northlightshop.com/product/
online-seminar-the-simple-
secret-to-better-painting.
68_TAM0610ArtClinic.indd 68 3/23/10 9:53:25 AM
classieds
JOE JOHNSON
513/531-2690 ext. 11380
69 June 2010
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TAM-6-10Classifieds.indd 69 3/26/10 10:54:49 AM
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The School of Light & Color
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Darren Kingsley Spring 2011
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St.
Virginia Beach, VA 23451
(757) 631-8101 or Toll Free (800) 428-1512
www.atlanticuniv.edu gdeming@atlanticuniv.edu
Ann Lindsay Watercolor Workshops
Watercolor
Lenox MA May 9-14
Grafton, NY- June, July, August, September
Rhinebeck, NY- August
New York, NY- November
Drawing
New York, NY- Plein Air Sketching, May 27 & 28
Grafton, NY- Drawing on the Right Side of the
Brain, June 1-4
Book & Complete 2010 Workshop Schedule:
www.annlindsay.org e-mail@annlindsay.org
518-658-2960
InView Center for the Arts
At the Landgrove Inn, Landgrove, VT
Brand-new, 50x30 Post & Beam Workspace
Idyllic Green Mountains setting
Country chic lodging Nationally-known Instructors
For info on classes call:
(800) 669-8466
or (802) 824-6673
www.landgroveinn.com
132 Landgrove Rd., Landgrove VT 05148
TAM-6-10Classifieds.indd 71 3/26/10 1:04:07 PM
classieds
JOE JOHNSON
513/531-2690 ext. 11380
ADVERTISER INDEX
1-806-354-8802 amarilloartinstitute.org
Maggie Price April 5 - 9
Jack Sorenson May 19 -22
Guido Frick June 2 -4
Mike Mahon June 9 -12
Ann Templeton August 4 - 7
Ruth Bryant Sept 7 - 9 & 14 - 15
CeCe Turner Nov 3 - 5
Rich Nichols TBA
Lincoln Fox TBA
Buy 6 Title Plates and get 1 FREE -
Send for FREE brochure to:
Allysons, 21A Cote Dr. Epping, NH 03042
www.titleplates.com
5 type styles 9 different plates to chose from
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also receive FREE brass brads and screws.
THE NOTEBOOK
CALL FOR ENTRIES
Indianapolis: Call for Entries. Midwest National
Abstract Art Exhibition VI. October 2 - November 14,
2010. Garfeld Park Arts Center. $2,000 in cash awards.
Prospectus: SASE to Southside Art League, 299 E.
Broadway, Greenwood, IN 46143. Entry fee $35 mem-
ber, $45 non-member. www.southsideartleague.org.
DEADLINES: MARCH 10, MAY 13, JULY 14,
AND NOVEMBER 8, 2010
2010 Richeson 75 International Competitions
Juried exhibitions held at Richeson School of Art &
Gallery. Each competition: $3,000 cash Best in Show.
31st prizes $1000 merchandise certifcates; 32nd
prizes $500 merchandise certifcates. Still Life &
Floralentry deadline: 3/10/10. Exhibit June 6July
19. Figure/Portraitentry deadline: 5/13/10. Exhibit
August 6October 19. Landscapeentry deadline:
7/14/10. Exhibit October 8December 6. Pastels
entry deadline: 11/8/10. Exhibit January 14March
14, 2011.
DEADLINE: MAY 16, 2010
San Diego, CA: 30th Annual San Diego Watercolor
Society International Exhibition, October 1 - 31,
2010. Approx $15,000 in awards. On-line entry. Pat
Dews, juror. Prospectus and entry at www.sdws.org.
The Pastel Society of America 38th Annual Open
Juried Exhibition at the National Arts Club, New York
City, September 7-October 2, 2010. Open to soft pastel
painters only. Over $20,000 in awards. Postmarked
deadline for slides and digital entries May 28, 2010.
Prospectus - SASE (#10) to: The Pastel Society of
America, 15 Gramercy Park South, New York City, NY
10003 or www.pastelsocietyofamerica.org. Info: 212-
533-6931 or pastelny@juno.com.
Call for Entries: 35th National Watermedia Okla-
homa. Show August 29-October 8, 2010. Over $5000
in cash and merchandise awards. CD entries/$30 entry
fee. Watermedia on paper or canvas. Juror: Louise
Cadillac. Contact Regina Murphy at (405) 848-0037 or
regina@reginamurphy.net.
DEADLINE: JUNE 1, 2010
Call for Artists: Skokie Art Guilds 49th Annual Art
Fair. July 10-11, 2010. Fine Art. Prizes and awards. $150
booth fee. 75 exhibitors. Village Green, Skokie, IL. Ap-
ply now! skokieart@aol.com; www.skokieartguild.org;
Tel. 847-677-8163.
Watercolor Wyoming 25th Annual National Exhibi-
tion: The Watercolor Wyoming Exhibition is open to all
artists age 18 or over working in water soluble media
on paper or YUPO and unvarnished. Limit of 3 slides
per artist. Any or all entries may be accepted. Include
the non-refundable fee of $7.50 per slide for Wyoming
Watercolor Society membership and $15 per slide for
non-members. A watercolor workshop will be held
August 18-21, 2010. The exhibit runs August 1-31, 2010
in Sheridan, Wyoming. A prospectus can be found at
www.artinsheridan.com.
Alaska, Anchorage. 36th Annual Alaska Watercolor
Society Juried Exhibition, opening Sept. 26, 2010 at
Anchorage Museum at Rasmuson Center. Prizes to ex-
ceed $4,500 in cash and merchandise, $1000 top cash
award. Juror: Linda Doll. Entry/Slide deadline: June
4, 2010. $25 entry fee for 2 entries/slides maximum.
Prospectus: www.akws.org.
Roswell, New Mexico. Roswell Fine Arts League/New
Mexico Miniature Arts Society 27th Annual Juried Art
Art Workshop Retreats
Jim Markle Mark Mehaffey,
Dianna Soisson Donna Zagotta,
Kerr Grabowski and more...
www.buddingartideas.com
Ann Arbor, MI
Don Andrews,
Elaine Hahn,
Acrylic, Oil, Watercolor, Encaustic,
Mixed Media, Fiber Art, Pastel,
Color Pencil, Photography, etc.
Karen Mar rr tin Sampson
Figure Painting, oil or pastel
pp
workshop, Aug. 28 - 30th .
northVancouv VV er Isle studio, at Mt.H'K , usam
ocean, f , or ff est, mountains - gr , eat vacation area
www.kar ww enmartinarts.ca
1-250-282-0134
organic vegetarian lunches included
2010 WORKSHOP IN SPAIN
by Huihan Liu
October 11-25, 2010
Contact: Jean Chin
ph: 713-344-1245 e-mail: jeanchin@comcast.com
www.huihanweizhenart.com e-mail: huihanliu@yahoo.com
Acadia Workshop Center ...........................70
Allysons Title Plates ......................................72
Amarillo Art Institute ...................................72
Ann Lindsay Studio.......................................71
Ann Templeton Workshops ......................72
Art In The Mountains ...................................69
Artspan.com ....................................................15
Atlantic University .........................................71
Bay Area Classical Artist Atelier ...............70
Best Brella ..........................................................71
Birgit OConnor ...............................................70
Blick Art Materials ................................... IFC, 1
Book Art Press .................................................70
Budding Art Ideas .........................................72
Charles Gruppe....................................... 70, 71
Cheap Joes Art Stuf ....................................15
Clear Bags..........................................................69
Coastal Maine Art Workshops..................71
Conrad Machine.............................................69
DAmbruoso Studios, LLC ..........................72
Daler-Rowney/Robert Simmons ............63
Daniel Greene .................................................75
Delaplain Visual Arts ....................................71
Dillmans Creative Arts .................................69
Edgmon Art ........................................................ 7
Fine Art House Ad ...........17, 22, 23, 59 IBC
Fishback/Gruen ..............................................13
Flying Colors Art Workshop ......................70
Hartford Fine Art & Framing .....................61
Hudson River Valley ......................................69
Huihan Liu .........................................................72
Idyllwild Arts ....................................................70
Jack Richeson & Co Inc ................................19
JCB Advertising ..............................................70
Jean Pederson .................................................71
Jerrys Artarama.................................... 8, 9, 21
John C Campbell Folk School ..................69
Kalish Brushes .................................................69
Karen Martin Sampson ...............................72
Kristy Kutch ......................................................71
Landgrove Inn .................................................71
Laromita School Of Art ...............................69
Lesley Rich ........................................................71
Mel Stabin .........................................................70
Paintpal Club ...................................................71
Paul Jackson .....................................................71
Picture Frame Products ..............................70
RJ Palmer ...........................................................63
Robert Burridge Studio ...............................70
Royal Brush Mfg Inc ..................................... BC
School Of Light & Color ..............................70
Sheila Parsons Art Ventures ......................71
Stan Miller .........................................................77
Starlight Ranch ...............................................69
Stone Ridge Farm B&B ................................71
Stu-Art ................................................................61
Susan K Black Foundation .........................21
Susan Truitt .......................................................71
Tony Couch .......................................................70
Tony Van Hasselt ............................................70
Triple D Game Farm ......................................72
U.S. Mint ............................................................... 5
Valdes Art Workshops..................................69
Video Learning Library ................................70
Vistra Framing ................................................... 5
Wholesale Frame Company LLC .............70
Wimberley Artists Workshops .................71
Your Brush with Nature ...............................77
OIL & PASTEL PAINTING WORKSHOPS
Gainsville, GA Mar 8-12
Georgetown, TX May 19-21
Ciger Mt, GA May 31-Jun 4
Odessa, TX Jun 21-25
Bucks County, PA Aug 16-21
Ruidoso Downs, NM Sept 6-10 &
Sept 13-17
Northern New Mexico Sept 20-24
Ghost, NM Oct 3-9
Ashville, NC Oct 12-17
Salado, TX Oct 25-29
Denver, CO Nov 15-19
249 Moss Rose Lane
Driftwood, TX 78619
email: anntart@
austin.rr.com
Books & Instructional
Videos available.
512.722.3186
www.anntempleton.com
ANN TEMPLETON
SAM DAMBRUOSO
67 Richardson Drive, Middlebury, CT 06762 203-758-9660
Traveling Palette Art Workshops
ITALY
Amalf June 23 to 30
Portraiture in Tuscany October 3 to 9
Landscape Painting Tuscany October 13 to 20
call for entries
JOE JOHNSON
513/531-2690 ext. 11380
73 June 2010
Show and Exhibition, August 12-22 at the Roswell
Museum and Art Center. Entry deadline: June 14.
4/$40. Open to artists from all 50 states and to all
RFAL members. Standard/miniature. 2-D and 3-D. All
mediums. For prospectus and entry form, send SASE
to RFAL/NMMAS, Box 2928, Roswell, NM 88202, call
575-622-4985, go to www.rfal.org or email:
rfalshow@gmail.com.
National Watercolor Society 90th Annual Exhibi-
tion. Slide/Digital deadline June 26, 2010. Show opens
October 30, 2010. Original watermedia on paper.
$25,000 in awards. Free Catalog for entering artists. For
prospectus, download at www.nationalwatercolor
society.org or send SASE to: NWS, 915 S. Pacifc Ave,
San Pedro, CA 90731.
Watercolor West Call for Entries. Deadline June 30,
2010. City of Brea Art Gallery, Brea, CA. Exhibition dates:
October 9-December 19, 2010. Approximately $12,000
in cash, merchandise and purchase awards. First Award
$1500. Juror: Frank Francese. Digital or slide entries.
See prospectus for details. $35 for 1-2 digital entries.
$45 for slides. Prospectus at www.watercolorwest.org
or SASE to: Francesca Brayton, 3961 Toland Circle, Los
Alamitos, CA 90720.
DEADLINE: JULY 1, 2010
New York, NY: Catherine Lorillard Wolfe Art Club, Inc.
114th Annual Open Juried Exhibition at the National
Arts Club, NY. October 5-29, 2010. Open to women
artists. Media: Oil, Acrylic, Watercolor, Pastel, Graphics,
and Sculpture. Over $9,000 in awards. Entry fee: $30/
Members and Associates, $35/Non-Members. Juried by
CDs or slides. Deadline for entry is July 1, 2010. For pro-
spectus, send SASE to Okki Wang, 431 Woodbury Road,
Cold Spring Harbor, NY 11724 or download prospectus
at www.clwac.org.
DEADLINE JULY 3, 2010
25th Annual National Fine Art Show. Louisville,
Colorado. September 4 - September 9, 2010. All
media except photography. $30/3images. $3,000 cash
awards. For prospectus, download at www.louisvilleart.
org, or send #10 SASE to Fine Art Show, 860 W. Oak
Court, Louisville, CO 80027.
DEADLINE JULY 3, 2010
TEXAS, BRECKENRIDGE. 19th Annual Juried Art Com-
petition. 2-Dimensional, no photography. Juror: Nancy
Bush. $5,400 awards. $25 per slide or digital entry
- deadline July 3. For Prospectus: SASE Breckenridge
Fine Arts Center, PO Box 549, Breckenridge, TX 76424,
info@breckenridgefneart.org,
www.breckenridgefneart.org.
Stockton: The 56th Juried Exhibition at The Hag-
gin Museum sponsored by Stockton Art League.
September 2-October 31. Cash awards over $5000.
Open to all US artists. No photography or computer
art. CD deadline July 7, 2010. Juror: Margot Schulzke.
Prospectus: #10 SASE to Teresa Hickey, 1031 Elmwood
Ave., Stockton, CA 95204 or www.hagginmuseum.org;
www.stocktonartleague.org. Inquiries:
elmhickey@sbcglobal.net.
AUDUBON ARTISTS Inc. 68th Annual ALL JURIED
Exhibition: Entry forms & Digital CD Postmark Dead-
line July 17, 2010; Exhibition Sept. 13 to Oct. 1 at the
historic Salmagundi Art Club, NYC. Non members $40/
one image only. Over $20,000 in Awards. Open to all
living U.S. Artists in Aquamedia, Mixed Media, Graphics,
Oils & Acrylics, Pastels & Sculpture. Jurors of Awards:
(To Be Announced. Online Prospect us at www.
audubonartists.org or SASE to Raymond Olivere,
Audubon Artists, 1435 Lexington Ave., Apt# 11D ,NYC,
NY 10128 (information contact: Vincent Nardone, Presi-
dent: nardoneart@comcast.net; or 732-903-7468).
Casper, WY: The Casper Artists Guild/West Wind
Gallery announces the 16th Annual International
Miniature Art Exhibit and Competition August 3-31. For
prospectus, send #10 SASE to West Wind Gallery, 1040
W 15th St, Casper WY 82604.
Annual Buda Fine Arts Festival, October 1-3,
(512.663.7795), Contact Sara Grizzle or see applica-
tion at www.budafneartsfestival.com deadline is July
31,2010.
DEADLINE: AUGUST 2, 2010
The KWS National Watercolor Exhibition 2010. The
Wichita Center for the Arts, November 19, 2010 Janu-
ary 2, 2011. $30,000 in cash and purchase awards an-
ticipated. Juror: Janet Walsh, AWS President Emeritus.
$30 for 3 entries. Postmarked deadline: August 2, 2010.
Prospectus available at www.wcfta.com, 316-634-2787,
areep@wcfta.com.
CALL FOR ARTISTS; Fiesta Juried Art Competi-
tion. October 1-2, 2010. Entry by CD deadline August
3. John Pototschnik, Juror. Prospectus: sase Sherrell
Hazlewood PO Box 376, Coleman, TX 76834 or slh@
Texasbluebunny.us FineArtsLeagueColemanTx.com,
Marian Johnson mljdj@web-access.net.
Huntsville, Texas. The Wynne Home Arts Center
National Juried Pastel Competition. September 11 30.
Maggie Price, Juror. Digital Entries. $2,000+ in cash
awards. Request prospectus from Patsy Ann Reed:
patsyann11@gmail.com.
Degas Pastel Society Thirteenth Biennial, National
Exhibition. Hammond Regional Arts Center in Ham-
mond, LA. October 8 - November 5, 2010. Joror: Susan
Ogilvie, PSA. Soft Pastels Only. Over $5000 in Awards.
Digital entries only, Deadline August 7. Prospectus:
SASE to Degas Pastel Society, C/O Glinda Schafer, 813
Heritage Ave., Terrytown, LA 70056. 504-392-5222 or
download from degaspastelsociety.org.
New York. American Artists Professional League,
82nd Grand National Exhibition, at Salmagundi Club,
NYC. November 2 - November 12. Open to all artists,
representational or traditional realism only, approxi-
mately $16,000 in awards, cash and medals. Slides
or digital accepted, submission deadline: August 14,
accepted work received October 30. For prospectus,
send SASE to AAPL, Dept. AM, 47 Fifth Avenue, New
York, NY 10003, or visit our website:
www.americanartistsprofessionalleague.org
42nd Annual Juried ViewPoint 2010, $5,000 cash
and prizes. November 5-21. Limit 3 digital images,
jpg on CD. $35 frst image, $20 second, $10 third.
Traditional 2D media plus sculpture; must be for sale.
No photography, crafts, fber, jewelry or computer
generated. Deadline August 31, 2010. For prospectus
send #10 SASE to ViewPoint2010, Deb Ward, 1165
Chapelow Ridge, W. Harrison, IN 47060, or download
from http://www.cincinnatiartclub.com.
HELP WANTED
$400 WEEKLY ASSEMBLING PRODUCTS from home.
For free information, send SASE: Home Assembly-AM,
P.O. Box 450, New Britain, CT 06050-0450.
WORKSHOPS
Jeanne Dobie, AWS, NWS
Making Color SingDVD Workshop. Take a
workshop at home, All levels, 7 Lesson Set $198+ $5
Shipping, Info: jeannedobie.com or Jeanne Dobie, 60
Brick Church Rd, Pipersville, PA 18947-9313.
ALABAMA
Stan Miller
6/21-6/25, Huntsville. Contact 509-535-5257; stan@
stanmiller.net; www.stanmiller.net.
ARIZONA
Sedona Arts Center
Workshops and Field Expeditions Spring 2010. All
levels unless noted otherwise.
William Scott Jennings: Advanced-Intermediate Plein
Air Painting, 5/3-5/7, oils
Peggy Sands: Drawing Without Fear, 5/10-5/14, mixed
media
Christine Debrosky: Landscape to Studio,
5/10-5/14, Pastels
David Haskell: Grand Canyon Plein Air Painting,
5/13-5/21, oils
Robert Burridge: Loosen Up! 5/24-5/28,
mixed media
Kath Macaulay: Pochade Pocket Sketching,
6/12-6/14, watercolor
Libby Caldwell: Artistic Journaling, 6/10-6/11,
mixed media
Gretchen Lopez: The Portrait, 6/21-6/25,
waterbased/oils
Brian Davis: Luminous Oils, 6/21-6/25, oils, foral
Contact Vince Fazio, 888-954-4442;
www.SedonaArtsCenter.com.
Robert Burridge Studio
Loosen Up with Aquamedia Painting: 5/24-5/28.
Sedona Arts Center. Contact 888-954-4442; www.
sedonaartscenter.com; www.robertburridge.com.
Susan Ogilvie
11/1-11/5, Sedona. Sedona Arts Center, www.
sedonaartscenter.com; www.susanogilvie.com.
ARKANSAS
Birgit OConnor Watercolor Workshops
October 2011, Little Rock. Contact: 800-749-4786;
www.birgitoconnor.com.
Edgmon Art Studio
Susan Edgmon: Watercolor and Pastel, 5/16-5/19.
Award winning artist, Susan Edgmon will be teaching
her technique of creating visually exciting Floral paint-
ings. We will be painting fowers from her garden. She
will demonstrate watercolor under-paintings for pastel.
She will do daily demonstrations in pastel or water-
color. In addition, she will ofer assistance on student
paintings along with critiques.
Albert Handell: Pastel and Oil, 10/10-10/15. Albert
Handell will share his vast knowledge in a combination
Plein Air and Studio Workshop. We will be painting at
select locations here in beautiful Northwest Arkansas.
He will do some demonstrations as well as ofer advice
to students on their paintings.
Contact: 479-787-5098; sales@edgmonart.com;
www.susanedgmon.com.
Loosen Up with Aquamedia Painting: 5/3-5/7. Hot
Springs Gallery. Contact Vanessa Seagraves, 239-250-
8339; vanessa@livenaples.com; www.hotsprings
gallery.com; www.robertburridge.com.
Sheila Parsons Art Ventures
10/31-11/6, Eureka Springs: 28th Annual Ozark
Adventure in Watercolor. Contact 501-327-1750;
richard@sparsons.com; www.sparsons.com.
Susan Ogilvie
6/7-6/11, Little Rock. Arkansas Pastel Society,
www.arkpastel.com; www.susanogilvie.com.
CALIFORNIA
Art in the Mountains
Alvaro Castagnet: Passionate Watercolor, plein air.
Intermediate to Advanced students. 8/30-9/3,
San Francisco.
Mary Whyte: Watercolor Figures & Landscapes - Studio
& Plein Air. Beginning to Advanced. 8/30-9/3,
San Francisco.
workshops
JOE JOHNSON
513/531-2690 ext. 11380
Charles Reid: Studio Still Life, Landscape and Figures.
Intermediate to Advanced. 11/1-11/5, Santa Barbara.
Contact: Tracy Culbertson, Art in the Mountains, 503-
930-4572; info@artinthemountains.com;
www.artinthemountains.com.
Point Reyes National Seashore: 5/1-5/2, 6/26-6/27,
8/28-8/29
Contact: 800-749-4786; www.birgitoconnor.com.
Cunninghams Art Studio
Instruction by Master Painter, Susan Cunningham
and Staf, (760) 373 - 0914. Saturday Oct. 4th Boron, CA.
Acrylic Med. 6 hour split session $225.00
Beginner-Intermediate-Advanced. Landscape - Flowers
- Portraits. In the Grand California Mojave Desert. Enjoy
the Experience.
Ming Franz
Mexican Riviera Cruise Ship Workshop with Ming
Franz - Splash Ink with Watercolor, Royal Caribbean,
March 6th - 13th, 2011. Visit Cabo San Lucas, Mazatlan,
Puerto Vallarta. Departure and arrival from Los Angeles.
For workshop information check the event page
at www.mingfranzstudio.comor contact Betty at
928-541-1449.
Paint Yosemite 2010
Yosemite Valley: 10/31-11/5. D. Laitinen, B.D. Stroud,
R. OBrien, D. Cole, G. James. www.patricia aallen.com;
workshop@patriciaaallen.com
Paul Jackson, AWS, NWS
Dramatic Landscape In Watercolor: 7/16-7/18, Long
Beach. For details or to register, contact Debbie
debbieellen.lewis@gmail.com.
Loosen Up with Aquamedia Painting: 5/17-5/21. Art
Box Studio. Contact Sylvia Megerdichian, 909-981-
4508; artboxsylvia@netzero.net; www.artbox
workshops.com. www.robertburridge.com
School of Light and Color
Susan Sarback: Color Intensive, 7/31-8/4, Fair Oaks;
Plein Air Landscape, 5/22-5/24, Fair Oaks and 6/21-
6/24, Napa.
Contact 916-966-7517; sarback@lightandcolor.com;
www.lightandcolor.com.
Stan Miller
9/13-9/16, San Diego. Contact 509-535-5257;
stan@stanmiller.net; www.stanmiller.net.
COLORADO
Ann Templeton
Oil and Pastel Painting: 11-15-11/19, Denver. Contact
512-722-3186; anntart@austin.rr.com;
www.anntempleton.com.
Stan Miller
10/18-10/22, Denver. Contact 509-535-5257; stan@
stanmiller.net; www.stanmiller.net.
Tony Couch, Fine Art
Watercolor: 5/17-5/21, Parker. Contact (800) 491-7870;
toncouch@mindspring.com; www.tonycouch.com.
CONNECTICUT
DAmbruoso Studios LLC
Landscape Painting in Old Lyme. August 16 to 20,
2010. Old Lyme, CT. Instructor: Sam DAmbruoso, $550
artists, all levels, tuition. ALL WORKSHOPS SPONSORED
BY: Traveling Palette Art Workshops, DAmbruoso Stu-
dios LLC, 67 Richardson Drive, Middlebury, CT 06762,
203-758-9660, SamDAmbruoso@comcast.net,
www.DAmbruosoStudios.com.
Mel Stabin
Watercolor: Simple, Fast, and Focused. 10/11-
10/14/10 in Old Lyme. Sponsored by Lyme Art As-
sociation. All levels. Contact: Krissa Ressler,
860/434-7802; info@lymeartassociation.org;
www.lymeartassociation.org.
Dramatic Landscape in Watercolor: 9/17-9/19,
Lower Fairfeld. Cost $300. For details or to register,
contact Marla Jackson, marlamjackson1@aol.com.
Tony van Hasselt, AWS
Watercolor on Location: 6/7-6/12, Windsor Locks.
Watercolor, Intermediate-Advanced.
Contact Sherry Cross, 800-248-6449;
www.tonyvanhasselt.com.
FLORIDA
Corse Gallery & Atelier
Marc Chatov: Portrait Alla Prima, 6/14-6/18
Carol Marine: A Painting A Day, 10/22-10/24
Qiang Huang: Still Life Oil Painting, 9/17-9/19
Michael Dudash: Thinking Outside the Box,
11/8-11/12
Kerry Vosler: Portrait Painting, 12/4-12/6
Contact: 877-386-8205;
www.CorseGalleryAtelier.com.
Painting Wildlife in Watercolor: 6/11-6/13, Pensacola.
Framing By Design. Cost: $300. For details or to register,
Dramatic Landscape in Watercolor: 10/15-10/17, Or-
lando. Cost $300. For details or register, contact Marla
Jackson, marlamjackson1@aol.com.
GEORGIA
Ann Templeton
Oil and Pastel Painting: 5/31-6/4, Ciger Mt. Contact
512-722-3186; anntart@austin.rr.com;
Stan Miller
7/12-7/15, Atlanta. Contact 509-535-5257;
stan@stanmiller.net; www.stanmiller.net.
Watercolor: 5/3-5/7, St Simons Island. Contact (800)
491-7870; toncouch@mindspring.com;
www.tonycouch.com.
HAWAII
Lian Zhen: Watercolor Kauai, Plein Air. Beginning to
Advanced. 10/4-10/8, Kapaa, Kauai.
Contact: Tracy Culbertson, Art in the Mountains, 503-
930-4572; info@artinthemountains.com;
Hawaiian Art Journey: 12/4-12/11, Kahuwai Bay.
For details or to register, contact Marla Jackson,
marlamjackson1@aol.com.
ILLINOIS
Kristy Kutch
Pick Up a Pencil and Paint! 8/30-9/1, at Prairie Art
Alliance, 420 S. 6th Street, Springfeld, IL 62701, www.
prairieart.org. Call Jane Johnson, 217-544-2787, email
jjohnson@prairieart.org.
Northbrook Arts Commission/
Village Green Center
Sarah Webber: Animal Painting in Oil, 5/15-5/16
Contact 847-921-5239; bonnie.siegel@gmail.com;
www.northbrookarts.org.
Your Brush With Nature
Heiner Hertling teaches most of his classes in his home
studio. Students complete a painting each day. All lev-
els are welcome. You can contact us at 248-535-8334 or
on the web at yourbrushwithnature@comcast.net. You
may also visit the website at yourbrushwithnature.com
10/2 and 10/3 in Grafton.
INDIANA
Art Barn School of Art
Michael Chesley Johnson: Oil/Pastel Plein aire,
5/3-5/5
Frank Webb: Watercolor, 6/7-6/11
Lesley Rich: All Media, 6/21-6/25
Pat Weaver: Watercolor, 7/19-7/23
Steve Rogers: Watercolor, 8/2-8/6
Ken Hosmer: Watercolor/Oil, 9/13-9/17
Contact: 219-462-9009; www.artbarnin.com.
6/2-6/4. Contact: 800-749-4786;
Lesley Rich
Figure/Abstract Design, all mediums, all levels, June
21-25, Valparaiso, to reserve call Art Barn Workshops,
(210) 462 9009 or email artbarnin@aol.com.
LOUISIANA
Portraits in Watercolor: 6/24-6/27, Baton Rouge.
Crowne Plaza. Cost $400. For details or to register,
10/11-10/15, Covington: The Rivers Retreat Center.
Contact Irene Surran, 985-871-9100; info@
theriversretreat.com; www.sparsons.com.
Susan Ogilvie
10/4-10/8, New Orleans. Contact Degas Pastel Soci-
ety, www.degaspastelsociety.org; www.susanogilvie.
com.
MAINE
Acadia Workshop Center
Don Getz: Watercolor Journaling, 5/24-5/28.
All levels.
Susan Abbott: Color in the Maine Landscape, 5/31-
6/4. All Media. Some experience required.
Peter Spataro: Painting the Colors of the Wind,
6/14-6/18. Watercolor, Acrylic, Oil. All levels with some
experience.
Kristy Kutch: Coastal Colored Pencil, 6/21-6/25.
All levels.
Sheila Parsons: Watercolor Plein Air, 7/5-7/9. Beginner
- Intermediate.
Tom Jones: Creating Atmosphere in Watercolor Land-
scapes, 7/12-7/16. Beginner - Intermediate.
Katherine Cartwright: Concept Development: How
to create unique and meaningful art, 7/19-7/23. All
mediums and levels.
Shelli Robbiner-Ardizzone: Perfectly Plein Air in
Coastal Maine, 7/26-7/30. All Media. All levels with
some experience.
Christine LaFuente: Oil - On Location in Maine, 8/2-
8/6. Experience required.
Lee Boynton: August Light: Painting the Impressionist
Landscape, 8/9-8/13. Oil. All levels.
Armand Cabrera: Painting the Maine Landscape,
8/16-8/20. Oil, Acrylic. All levels
Elin Pendleton: Color Bootcamp, 8/29-9/3. Acrylic, Oil,
Intermediate - Advanced.
Bob Rohm: The Maine Landscape, 9/20-9/24. Oil,
Pastel. All levels.
Michael Chesley Johnson: The Maine Landscape in
Pastel or Oil, 9/27-10/1. All levels.
Lois Grifel: Painting the Impressionist Landscape,
10/4-10/8. Oil. All levels.
Contact: Gail Ribas, 207-244-9742; awcmaine@gmail.
com; www.acadiaworkshopcenter.com.
Coastal Maine Art Workshops
We now have a second Rockland Studio site a few
blocks away at the Lincoln Street Center, and will base
some concurrent classes there; however, most of our
classes will be held at the Trade Winds Studio. Classes
are for all levels unless otherwise noted.
PA: Plein Air ST: Studio
W: Watercolor; A: Acrylics; O: Oils; P: Pastels
July 13-16. Gail Sauter; Understanding Color Har-
mony; ST/All Media; $425
July 19-23. Morgan Samuel Price; Plein Air; PA/WC/
O/A; $600
July 26-30. Alvaro Castagnet AWS; Bold, Vibrant Water-
colors; PA/ Int/Adv; $575
July 26-30. Douglas Smith; Direct Painting in Oils;
PA/ST/Beg/Int; $500
Aug 9-12. Susan Webb Tregay NWS; Quick Travel
Masterpieces; PA/WC; $425
Aug 16-20. Donna Zagotta AWS/NWS; Developing
Ideas for Creative Paintings; ST/All Media; $500
Aug 17-20. Charlotte Wharton; Natures Rhythms-The
Coast in Oils & Pastels; PA/$425
75 June 2010
Aug 23-27. Tony van Hasselt AWS; Watercolor Work-
shop; PA/Int/Adv; $575
Aug 23-27. Bill Teitsworth NWS; The Maine Coast in
Watermedia; PA/Int/Adv; $500
Aug 30-Sept 2. Renee Emanuel; Art Start; ST/PA; All
Media/Beg/refresher; $425
Sept 6-10. John Salminen AWS/NWS; Realism through
Design; ST/PA/WC/Int/Adv; $700
Sept 13-17. Colin Page; Mid Coast in Oils; PA/Int/Adv;
$500
Sept 13-17. Paul George NWS; Painting the Maine
Coast; PA/WC/Int/Adv; $500
Sept 20-24. Janet Rogers AWS; Portraits/Florals in
Watercolor; ST $500
Sept 20-24. Steve Rogers AWS/NWS; Painting Light
and Color; PA/WC; $500
Sept 27-Oct 1. Wilson Ong; Portraits; ST/O/A/P; $500 +
$60 model fee
Oct 4-8. Eric Wiegardt AWS/NWS; Secrets of Painting
Loose; PA/WC; $575
Oct 4-8. Dennis Poirier; Painting Maine in Oils and
Acrylic; PA; $500
Oct 11-15. Eric Hopkins; Vision: Insight: Drawing
and Painting; ST/All Media; Int/Adv $600. We are also
ofering ** a 1 hr evening lecture (with cofee and
dessert) on the Business of Art, with Kathy Cartwright
NEWS, plus a Saturday 6 hour class on Developing a
Personal Concept for your work and creating from that,
a series.. Available with most classes! Contact: 207/594-
4813; info@CoastalMaineArtWorkshops.com; www.
CoastalMaineArtWork shops.com.
Kristy Kutch
Coastal Colored Pencil, 6/21-6/25. Acadia Workshop
Center, 7 Bernard Rd., Bernard, ME 04612, www.acadia
workshopcenter.com. Call 207-244-9742 or email Gail
Ribas, awcmaine@gmail.com.
Lois Grifel
Painting the Impressionist Landscape: 10/4-10/8,
Southwest Harbor. Contact Gail Ribas, 207-244-9742;
awcmaine@gmail.com; www.acadiaworkshopcenter.
com; www.loisgrifel.com.
Maine College of Art
Weeklong classes and workshops on the coast of
Maine. Workshop prices range from $430-$1,100.
Contact the Continuing Studies Department, 207-775-
3052; cstudy@meca.edu; www.meca.edu/cs
Dramatic Landscape in Watercolor: 9/24-9/26, Port-
land. Cost $300. For details or to register, contact Marla
7/5-7/9, Acadia National Park: Contact Gail Ribas, 207-
460-4119; info@acadiaworkshopcenter.com;
www.acadiaworkshopcenter.com; www.sparsons.com.
Maines Coastal Treasures: 6/21-6/25,
Boothbay Harbor.
On Location in Maine: 8/23-8/27, Rockland.
Contact Sherry Cross, 800-248-6449;
MARYLAND
Easton Studio & School
Ken Auster: 6/11-6/14
Leslie Frontz: 6/26-6/27
Jill Carver: 7/12-7/16
Camille Przewodek: 7/26-7/30
Tom Lynch: 8/6-8/9
Nancy Tankersley: 8/14-8/16
Carolyn Anderson: 8/27-8/30
Gavin Brooks: 9/17-9/20
Peggi Kroll-Roberts: 10/8-10/11
Diane DuBois Mullaly: 10/16-10/17
Maggie Siner: 11/5-11/8
Tim Bell: 11/12-11/14
www.eastonstudioandschool.com
Delaplaine Visual Arts
The Delaplaine Visual Arts Education Center, Frederick.
301-698-0656. www.delaplaine.org.
Tara Grim Painting Abstractly with Paint and
Collage. 6/10-6/12/10. Focus on the journey of explor-
ing and expressing your unique vision with multiple lay-
ers of acrylic paint and collage. $270. Look for our ad in
the next issue about our Rag Rug workshop scheduled
for the Fall! (see www.Delaplaine.org for information)
Mary Ann Beckwith, The Brush and Beyond.
8/168/20/10. This workshop will provide an explora-
tion of creative methods of water media application
including texturing and building layers of paint. Learn
to better express your vision and ideas through paint-
ing. $520. Look for our ad in the next issue about our
Rag Rug workshop scheduled for the Fall! (see www.
Delaplaine.org for information)
MASSACHUSETTS
Ann Lindsay Art Workshops
Watercolor: A New Beginning 5/9-5/14 (Foundation
Course) Kripalu Yoga Center Stockbridge, 800-741-7353.
Creative Arts Center
Libby Kyer: 6/7-6/9
Paul Leveille: 6/11-6/13
Mel Stabin: 6/14-6/18
Don Dembers: 6/28-6/30
Rosalie Nadeau: 7/17-7/19
Ted Minchin: 8/5-8/7 7
David Curtis: 9/10-9/12
Tom Lynch: 9/13-9/16
Joseph Paquet: 9/20-9/22
William Davis: 9/25-9/26
Mary Whyte: 9/27-10/1
Ed Carson: 11/13-11/14
Contact: 508-945-3583;
www.capecodcreativearts.org.
Land and Seascape Painting. May 17 to 21, 2010.
Cape Cod, MA. Instructor: Sam DAmbruoso, $550,
all levels, tuition. ALL WORKSHOPS SPONSORED BY:
Traveling Palette Art Workshops, DAmbruoso Studios
LLC, 67 Richardson Drive, Middlebury, CT 06762, 203-
758-9660, SamDAmbruoso@comcast.net,
Lois Grifel
Falmouth. Contact Jill Tompkins, 508-540-3304;
www.falmouthart.com; www.lois grifel.com.
Mel Stabin
Watercolor: Simple, Fast, and Focused. 6/14-6/18/10
in Cape Cod. Sponsored by Creative Arts Center. All
levels. Contact: Sally Lamson, 508/945-3583;
cacdirector1@verizon.net;
www.capecodcreativearts.org.
in Stockbridge. Sponsored by IS183, Art School of
the Berkshires. All levels. Contact: Amy Butterworth,
413/298-5252; info@is183.org; www.is183.org.
Watercolor: Simple, Fast, and Focused. 9/13-9/17/10 in
Marthas Vineyard. Sponsored by Mel Stabin Watercolor
Workshops. All levels. Contact: Nesa, 201/746-0376;
melstabin@optonline.net; www.melstabin.com.
Watercolor on Cape Cod: 7/7-7/9,
Eastham Watercolor, Intermediate-Advanced.
Contact Sherry Cross, 800-248-6449
www.tonyvanhasselt.com
MICHIGAN
June date TBA. Contact: 800-749-4786;
Budding Art Ideas
Art Workshop Retreats 2010, www.buddingartideas.
com. Held at the Beautiful Botanical Gardens, Ann
Arbor, Michigan. Award Winning Instructors, Small
Class Sizes, and Personal Attention!
May 17-20, Sue Holdaway-Heys Landscape Art
Quilts, Laura Cater-Woods Surface Design
June 7-10, Terry Jarrard-Dimond Contemporary Art
Quilts, Susan Moran Shibori Dyeing
July 12-15, Don Andrews Watercolor Painting,
Dianna Soisson Color Pencil
July 26-29, Jim Markel Pastel, Elaine Hahn Oil
Painting
Aug 24-26, Mark Mehafey Water Media Painting,
Leslie Sobel Encaustic
Sept 20-23, Kerr Grabowski Deconstructed Screen
Printing
Sept 27-30, Jill Love Photography
Oct 5-8, Susan Shie Painted Diary Art Quilts
Nov 1-4, Donna Zagotta Watercolor Painting
Please visit the website for details. We are always
adding new classes. Come and refresh, revitalize, and
renew that creative spirit!
Kristy Kutch
Amazing Colored Pencil Potential, 9/29-10/1
sponsored by Battle Creek Society of Artists, Battle
Creek, MI. Contact Susan Peet, 269-963-0602, email
suescreations@att.net.
Lois Grifel
Mackinac Island. Contact mackinac@mich.com or 800-
462-2546 for hotel reservations; www.loisgrifel.com.
Ox-Bow School of Art
and Artists Residency
1-week courses $535; room/board (optional) $535. 2-
week courses $1230; room/board (optional) $1070.
Andrew Winship: Etching, 6/6-6/12. $50 Lab Fee
Karl Wirsum: Imagination/Observation, 6/6-6/12
Michael Bonesteel & Nicole Hollander: History and
Practice of the Confessional Comic, 6/6-6/19
Isak Applin and Amos Kennedy, Visiting Faculty:
Image and Word Woodcut and Letterpress Printing
Techniques, 6/20-6/26
Jason Karolak and James Kao: Multilevel Painting:
Outside/Inside, 6/20-7/3
workshops
JOE JOHNSON
513/531-2690 ext. 11380
SUSAN OGILVIE
Pastel
Workshops
with an emphasis on
composition and color

2010
Arizona
Arkansas
Louisiana
New York
Tennessee
susanogilvie.com
Oli Watt and Peter Powers: Screenprinting: Mark.
Stencils, and Exposures, 7/4-7/17. $100 Lab Fee
Mark Pascale: Lithography, 7/18-7/24. $50 lab fee
Jose Lerma and Mark Schubert: Expanded Paint-
ing/Expanded Sculpture, 7/18-7/31
Jeanine Coupe-Ryding: Blockprint to Book, 7/25-7/31.
$50 Lab Fee
Martin Basher: The Borderless Print, 8/1-8/14
Kevin Appel: From Surface to Space: Reading the
Context of Paint, 8/1-8/14
Holly Greenberg: Alternative Printmaking: The Col-
lograph Plate, 8/15-8/21
Mark Caughey: Listening/Talking To Nature, 8/15-8/21
Tony Phillips and Judith Raphael: Watercolor,
Gouache and Pastel, 8/16-8/21
Rebecca Ringquist: Written/Drawn/Stitched Narra-
tives, 6/20-6/26. $50 Lab Fee
Contact 800-318-3019, Saugatuck; www.ox-bow.org
4/17 & 4/18, 5/1 & 5/2, 6/5 & 6/6, 7/10 & 7/11, 8/7 & 8/8,
10/9 & 10/10, 11/6 & 11/7, 12/4 & 12/5 Milford.
MINNESOTA
Kristy Kutch
Amazing Colored Pencil Potential, 6/7-6/9. Grand
Marais Art Colony, P.O. Box 626, Grand Marais, MN
55604, www.grandmaraisartcolony.org. Call 218-387-
2737 or email Amy Demmer, art@boreal.org.
Watercolor: 10/25-10/29, Bloomington. Contact (800)
491-7870; toncouch@mindspring.com;
www.tonycouch.com.
MISSISSIPPI
Dramatic Landscape in Watercolor: 6/18-6/20,
Gulfport. Cost $300. For Details or to register, con-
tact Marla Jackson, marlamjackson1@aol.com.
MISSOURI
Dramatic Landscape in Watercolor: 5/14-5/16, Kan-
sas City. Dramatic Landscape in Watercolor
Cost: $300. For details or to register, contact Marla
Jackson marlamjackson1@aol.com.
Glass and Still Life in Watercolor: 5/17-5/18
Springfeld. For details or to register, contact Sharon:
artistwarren@gmail.com.
Portraits in Watercolor: 5/20-5/23, Columbia.
Holiday Inn Executive Center. Cost: $400. For details or
to register, contact Marla Jackson, marlamjackson1@
aol.com.
MONTANA
Triple D Game Farm
John & Suzie Seerey-Lester August 28-September 1,
2010, Wildlife Workshop
Chris Navarro September 10-13, 2010, Sculpting
Workshop
Greg Beecham November 1-4, 2010, Sculpting with
Paint
Sandra Blair November 11-14, 2010, Wildlife &
Watercolor
Julie T Chapman February 3-6, 2011, Expressing the
Essence
All artist workshops include photography and sketch-
ing our wildlife.
See all we have to ofer at the Triple D for your photog-
raphy and artist workshop needs. 28 species of North
American & exotic animals available in natural settings
for photography. Contact: Triple D Game Farm at 1-
406-755-9653, email: info@tripledgamefarm.com or
visit the website at www.tripledgamefarm.com
8/30-9/4 Glacier Natnl Park.
NEW HAMPSHIRE
Fall Foliage in New Hampshire: 10/13-10/17, East
Madison. Watercolor, Intermediate-Advanced. Contact
Sherry Cross, 800-248-6449; www.tonyvanhasselt.com.
NEW JERSEY
Mel Stabin
in Island Heights. Sponsored by Ocean County Artists
Guild. All levels. Contact: Leona Lavone, 732/914-9941;
busby67@comcast.net; www.ocartistsguild.org.
NEW MEXICO
Ann Templeton
Oil and Pastel Painting: 9/6-9/10 and 9/13-9/17,
Ruidoso Downs; 9/20-9/24 Northern New Mexico;
10/3-10/9, Ghost. Contact 512-722-3186;
anntart@austin.rr.com; www.anntempleton.com.
Jeanne Hyland
Strategies for Brilliant Watercolors Workshop:
7/167/18. Exciting, Colorful, Watercolor Portraits Work-
shop: Part I: 7/308/1; Part II: 8/38/4. Santa Fe. Private
Groups, Classes, Commissions. Check website/Call for
additional dates & locations. Contact: 505-466-1782;
www.jeannehyland.com
New Mexico Art League
Ming Franz: Splash Ink Painting, Four 2-Day Work-
shops in 2010, $120. Chinese Flower Painting, Four
2-Day Workshops in 2010, $120.
Cynthia Rowland: Painting Flowers in the Still-Life,
8/9-8/13, $375. Painting Portraits in Oil, 5/17-5/21,
10-4/10-8. $375+ model fee. Painting the Figure in Oil,
11/1-11/5, $375+ model fee.
Wendy Higgins: Color and Light in the Still-Life , 7/12-
7/16, 11/8-11/12. $375.
Nance McManus: Pastel Camp, 5/15-5/16. $125.
Ming Franz & Alicia De Lima: Dancing with Acrylic,
10/23-10/24. $140.
Contact: 505-293-5034;
www.NewMexicoArtLeague.org.
Starlight Ranch
David Schwindt: 5/18-5/20, Michael Wilcox School of
Color. 5/22-5/24, 9/24-9/26, Landscapes in Oil.
Charles BudEdmondson: 6/11-6/13, Watercolor
Landscapes.
Fred Miller: 6/24-6/27, Portraits in Oil or Pastel
Carolyn Lindsey: 8/27-8/29, Landscapes & Figures.
Lee McVey, PSA: 10/1-10/3, Plein Air Landscape
in Pastel.
Contact Deb, 505-281-6839;
www.StarlightRanchNM.com.
Valdes Art Workshops
Laura Robb: Still Life in Oil, 7/7-7/9
Ron Rencher: Plein Air Oil, 6/21-6/25
Ted Nuttall: Figurative Watercolor from Photographs,
6/28-7/2
Roberta Remy: Portrait Drawing, 7/12-7/16
John Poon: Plein Air Oil, 7/19-7/23. Plein Air II,
8/30-9/3
Joan Potter: Still Life in Oil, 7/28-7/30
Darlene McElroy: Mixed Media/Collage, 8/2-8/6
Lorenzo Chavez: Pastel Landscapes, 8/9-8/13
Nancy Reyner: Mastering Acrylic, 8/23-8/27
Ron Ranson: Watercolor, 9/13-9/17
Contact 505-982-0017, Santa Fe;
www.valdesartworkshops.com.
NEW YORK
Ann Lindsay Art Workshops
Sketch in the City: New York, 5/27-5/28, The Cloisters,
Central Park Ann Lindsay Studio, New York 518-658-
2960.
Drawing on the Right Side of the Brain 6/1-6/4, (4 full
days) Ann Lindsay Studio, Grafton, 518-658-2960.
Drawing & Painting Flowers in Watercolor, 6/21-
6/25, (all levels) Ann Lindsay Studio, Grafton, 518-658-
2960.
Watercolor: A Wild Week-end Adventure, Omega
Institute, 7/30-8/1, Rhinebeck, NY 800-944-1001.
Watercolor: A New Beginning 8/28/6, (Foundation
Course) Omega Institute, Rhinebeck, 800-944-1001.
Beginning Portraits in Watercolor 8/23-8/27, (Begin-
ners) Ann Lindsay Studio, Grafton, 518-658-2960.
Painting the Sea & Tropical Landscape 9/20-9/24, (all
levels) Ann Lindsay Studio, Grafton, 518-658-2960.
Winter Landscape/Holiday Cards 11/21-11/22,
(Week-end) Ann Lindsay Studio*, Berlin, 518-658-2960
Hudson River Valley Art Workshops
Alvaro Castagnet: 5/2-5/8
Jim McFarlane: 5/13-5/16
John Salminen: 5/16-5/22
Mary Alice Braukman: 5/23-5/29
Elizabeth Apgar-Smith: 6/3-6/6
Lorenzo Chavez: 6/10-6/13
David Daniels: 6/13-6/19
David Dunlop: 6/20-6/26
Lew Lehrman: 7/22-7/28
Carol Marine: 7/29-8/1
Betty Carr: 8/1-8/7
Mel Stabin: August 2010
Mark Mehafey: 9/9-9/12
Judi Betts: 9/12-9/18
Pat Dews: 9/19-9/25
Kenn Backhaus: 9/26-10/2
Skip Lawrence: 10/3-10/9
Mary Whyte: 10/24-10/30
Contact: (888) 665-0044; info@artwork
shops.com; www.artworkshops.com.
Mel Stabin
Watercolor: Simple, Fast, and Focused. 8/9-8/13/10 in
Greenville. Sponsored by Hudson River Valley Art Work-
shops. All levels. Contact: Kim LaPolla, 888/665-0044;
info@artworkshops.com; www.artworkshops.com.
77 June 2010
Watch Emmy
nominee
Heiner
Hertling
Plein air painting in
Your Brush with
Nature
on PBS or Create TV.
Classes are taught
at Heiners home studio.
Register now, classes fill quickly.
248-684-4371
www.yourbrushwithnature.com
Studio Hill Farm
Intermediate Beginner to Professional levels. A $350.00
non-refundable deposit is required.
Daniel Greene Summer Workshop: 7/11-7/16, 7/18-
7/23, 7/25-7/30. $1250/each week.
Wende Caporale Summer Workshop: 8/1-8/6, $950.
Contact: Karen Keeler, Assistant - Studio Hill Farm, Sa-
lem, Toll Free 888-890-9887, Outside US 914-669-5653;
dgreenena@aol.com, wendecaporale@aol.com; www.
danielgreeneartist.com; www.wendecaporale.com.
Susan Ogilvie
5/3-5/7, Old Forge. The Arts Center Old
Forge, www.artscenteroldforge.org;
www.susanogilvie.com.
NORTH CAROLINA
Ann Templeton
Oil and Pastel Painting: 10/12-10/17, Asheville.
Contact 512-722-3186; anntart@austin.rr.com;
Cheap Joes Art Stuf
All levels unless otherwise noted.
Cheng-Khee Chee: 5/3-5/7. Watercolor: Synthesizing
East and West. $595
Mark Mehafey: 5/10-5/14. WC: Explore Your World:
Traditional to Experimental. $450
Eric Wiegardt: 5/17-5/21. WC: Secrets of Painting
Loose. $595
Kristy Kutch: 5/24-5/28. Vibrant Painting in Colored
Pencil. $395
Ted Nuttall: 5/31-6/4. Painting the Portrait in Water-
color from Photographs. $495
Sue Archer: 6/7-6/11. Commanding Color in Water-
color. $495
Sean Dye: 6/21-6/25. The Oil Color Experience. $495
Anne Abgott: 6/28-7/2. WC: Daring Color. $495
Joseph Fettingis: 7/12-7/16. WC: Color, Color,
Color! $495
Cathy Taylor: 7/19-7/23. All Mixed Up! Media. $450
Frank Francese: 7/26-7/30. Watercolor. $395
Tony van Hasselt: 8/2-8/6. WC: Plein Air Fun in the
Blue Ridge. $595
Alexis Lavine: 8/9-8/13. WC: Anything but Cold-
Pressed! $395
Janet Rogers: 8/16-8/20. Watercolor Rhythms with
Flowers and Portraits/Figures. $495
Steve Rogers: 8/23-8/27. Painting Color and Light in
Watercolor. $495
Karlyn Holman: 9/6-9/10. WC/Mixed: Watercolor Fun
and Free. $395
Linda Kemp: 9/13-9/17. WC: Negative PaintingPosi-
tive Results! $495
James Sulkowski: 9/20-9/24. Classical Still Life and
Floral Painting. $495
Linda Baker: 9/27-10/1. WC: Sun, Shade and
Shadows. $495
Jan Sitts: 10/4-10/8. WC: Texture, Color, Feeling. $450
Betty Carr: 10/11-10/15. Oil: Painting the Efects of
Light in Oil. $575
Charles Harrington: 10/18-10/22. Painting With
Acrylics. $395
Frederick Graf: 10/25-10/29. Watercolor: Design and
the Creative Process. $550
Contact: 800/227-2788 ext 1123;
edwina@cheap joes.com; www.cheapjoes.com.
John C Campbell Folk School
June-July 2010 Folk School Painting Classes
Kathy Chastain: Journaling in Watercolor (May
30-June 5, 2010), John C. Campbell Folk School,
Brasstown, NC, Beginner, Tuition: $527, 800-FOLK-SCH,
www.folkschool.org.
John Mac Kah: Oil in Plein Air: The Painters Craft (June
6-12, 2010), John C. Campbell Folk School, Brasstown,
NC, Intermediate to Advanced, Tuition: $527,
800-FOLK-SCH, www.folkschool.org.
Kathie Roig: Warp It! Paint It! Weave It! (June 6-12,
2010), John C. Campbell Folk School, Brasstown, NC, All
levels welcome, Tuition: $527, 800-FOLK-SCH,
www.folkschool.org.
Margaret Estes: A Workshop for Teachers (June 27-
July 3, 2010), John C. Campbell Folk School, Brasstown,
NC, All levels welcome, Tuition: $527, 800-FOLK-SCH,
www.folkschool.org.
Molly Lithgo: Colored Pencil Painting (July 4-9, 2010),
John C. Campbell Folk School, Brasstown, NC, Begin-
ner to Intermediate, Tuition: $474, 800-FOLK-SCH,
www.folkschool.org.
Oscar Rayneri: Controlling Watercolors and Land-
scapes (July 18-24, 2010 - Intergenerational Week),
John C. Campbell Folk School, Brasstown, NC, All
Levels Welcome, Tuition: $527, 800-FOLK-SCH,
www.folkschool.org.
Alfredo Escobar: Mural Painting (April 9-11, 2010),
John C. Campbell Folk School, Brasstown, NC, All levels
welcome, Tuition: $299, 800-FOLK-SCH,
www.folkschool.org.
Suzanne DesLauriers: Mountain Landscapes in
Watercolor (July 25-31, 2010), John C. Campbell Folk
School, Brasstown, NC, All Levels Welcome, Tuition:
$527, 800-FOLK-SCH, www.folkschool.org.
Kristy Kutch
5/24-5/28, Boone. Contact 800-227-2788;
kakutch@earthlink.net; www.artshow.com/kutch.
School of Light and Color
Susan Sarback: Light and Color Landscape, 9/27-10/1,
Cary. Contact 919-303-7887; art.jean@gmail.com;
www.lightandcolor.com.
Plein Air Fun in the Blue Ridge. 8/2-8/6, Boone.
Heiner Hertling teaches most of his classes in his
home studio. Students complete a painting each day.
All levels are welcome. You can contact us at 248-535-
8334 or on the web at yourbrushwithnature@comcast.
net. You may also visit the website at
www.yourbrushwithnature.com
4/9-4/11, 10/22-10/24 at Germanton Gallery.
OHIO
Middletown Arts Center, the
Learning Place
Doug Dawson, Master Pastelist PSA
Pastel Landscape Workshop, 8/23-8/27/10
Tom Bluemlein, Oil Painting Workshop, 11/8-
11/12/2010. Contact Patt or Kim (513)424-2417 or
middletownartscenter.com.
OREGON
Karen Rosasco: Experimental Watermedia and Col-
lage, Studio. Beginning to Advanced. 6/14-6/18.
Laurie Humble: Creating a Sense of Depth, watercolor
studio. Beginning to Advanced. 6/21-6/25.
John Seerey-Lester: Wildlife in Oil or Acrylic, studio to
plein air. Intermediate to Advanced. 6/28-7/2.
Suzie Seerey-Lester: My Painting is Done, Now What
Do I Do, Art Marketing Workshop, 6/28-6/29. Name
that Workshop, oil or acrylic studio, Intermediate to
Advanced, 6/30-7/2.
Cathy Taylor: Mixed Media and Collage Adventure,
Studio. Beginning to Advanced. 7/5-7/9.
Frank Francese: Brilliant Scenes, en Plein Air. Water-
color - Beginning to Advanced. 7/5-7/9.
Cindy Agan: Watercolor Portraits, studio. Beginning to
Advanced. 7/12-7/16.
J.R. Baldini: Contemporary Landscapes in Oil, Plein Air.
Beginning to Advanced. 7/12-7/16.
Jane Freeman: Dramatic, Powerful Paintings, Water-
color Studio. Intermediate to Advanced. 7/19-7/23.
Stanley Maltzman: Drawing and Pastel in Plein Air.
Beginning to Advanced. 7/19-7/23.
Judy Morris: Italy in the Studio! - Watercolor. Begin-
ning to Advanced. 7/26-7/30.
Frank LaLumia: Authentic Expressions in Watercolor,
(open to oil). Beginning to Advanced Plein Air. 7/26-
7/30.
Lian Zhen: Inspiring Watercolor and Chinese Painting,
studio. Beginning to Advanced. 8/2-8/6.
workshops
JOE JOHNSON
513/531-2690 ext. 11380
Ned Mueller: The Art of Seeing, Open medium - plein
air. Beginning to Advanced. 8/2-8/6.
Luana Luconi Winner: Great Faces, open medium,
Studio. Beginning to Advanced. 8/9-8/13.
Eydi Lampasona: Abstract Painting/Mixed Media: A
Fearless Approach. Beginning to Advanced. 8/16-8/20.
David Taylor: Leap to Freedom and Freshness, studio
to plein air. Intermediate to Advanced. 9/13-9/17,
Newport.
Kim English: Paint Instinctively with Immediacy, studio
& plein air. Beginning to Advanced. 9/13-9/17.
Contact: Tracy Culbertson, Art in the Mountains, Bend
Oregon, 503-930-4572; info@artinthemountains.com;
Kitty Wallis Color Intensives
Learn about seeing color, fnding attributes of color,
using color for impact, to create light and depth.
Understand the uses of color in your work. Study your
pastel palette, its strengths and weaknesses.
Basic Color Intensive: 11/5-11/7. 3 days of color study
and painting. Take home at least 30 custom mixed
pastel sticks. $220.
Plein Air Waterscape Intensive: 7/9-7/11. 3 day class
studying color and the techniques of painting water
$220.
Contact: walliscorp@yahoo.com.
Kristy Kutch
Luminous, Lustrous Colored Pencil, 7/28-7/29.
Currents Gallery, 532 NE Third Street, McMinnville, OR
97128, www.currentsgallery.com. Call 503-435-1316 or
email Kathleen Buck, kbuckcheney@comcast.net.
Draw, Brush, Flow, and Spatter with Colored Pen-
cils, 7/31-8/1. Trails End Art Association, Gearhart (near
Astoria), OR, www.trailsendart.org. Call Ellen Zimet,
503-861-0718, email EllenZimet@earthlink.net.
Lush and Lively Colored Pencil, 8/3-8/6. held at
Visual Arts Center, Newport, OR. Sponsored by Kristy
Kutch Colored Pencil Workshops, 11555 West Earl Road,
Michigan City, IN 46360, www.artshow.com/kutch. Call
219-874-4688 or email Kristy Kutch, kakutch@earthlink.
net. Tuition ($250) includes welcome lunch.
Dramatic Landscape in Watercolor: 8/6 - 8/8, Port-
land. Cost $300. For details or to register, contact Marla
Sam Collett
Drawing and Painting Vacations at Beautiful Wal-
lowa Lake, Oregon: 4 day fgure painting workshop
from life; morning /afternoon sessions. Cost $400 plus
$50 models fees. Date June 2-5 2010. Contact Sam
Collett, 541-432-7110; www.samcollettfneart.com.
PENNSYLVANIA
Ann Templeton
Oil and Pastel Painting: 8/16-2/21, Bucks County.
Bucks County Art Workshops
Bucks County has long been a magnet for artists. It is
the home of the New Hope Impressionists.
WEEKLONG WORKSHOPS, WATERCOLOR & PASTEL
Betty Carr: 5/10-5/14, Landscape and Still Life,
Watercolor
Richard McKinley: 5/17-5/21, Full/waitlist only. Pastel,
Plein Air
Mary Whyte: 6/21-6/25, Watercolor/Portrait, Still Life,
Plein Air
Mike Killelea: 6/28-7/2, Watercolor, Studio and Plein
Air
Joseph Alleman: 7/12-7/16, Watercolor and Oil, Plein
Air
OIL AND ACRYLIC:
Heidi Moran: 8/2-8/6, Studio, Oil, Floral
Peter Fiore: 8/9-8/13, Studio, Oil, Landscape
Ann Templeton: 8/16-8/20, Studio and Plein Air, Oil
Carolyn Lewis: 10/4-10/10, Oil, Plein Air; 10/18-10/22,
Plein Air, Oil or Acrylic
Eric Wiegardt: 10/25-10/29, Watercolor, Studio
THREE-DAY WORKSHOPS / MIXED MEDIA, WATER-
COLOR, OIL, PASTEL, ACRYLICS
Paul Leveille: 6/4-6/6, Portrait, Alla Prima, Oil, Pastel,
Watercolor
Ron Sanders: 6/11-6/13, Plein Air Oil, Acrylic,
Watercolor
Kevin Beck: 9/10-9/12, Plein Air, Oil and Pastel
Katherine Cartwright: 9/24-9/26, Watercolor Studio,
Concept Development, All Mediums
OIL AND PASTEL (Bucks County Artist Series)
www.buckscountyartworkshops.com.
Mel Stabin
in Chadds Ford. Sponsored by Mel Stabin Watercolor
Workshops. All levels. Contact: Nesa, 201/746-0376;
melstabin@optonline.net; www.melstabin.com.
RHODE ISLAND
Watercolor: 6/21-6/25, Newport. Contact (800) 491-
7870; toncouch@mindspring.com;
www.tonycouch.com.
SOUTH CAROLINA
5/10 & 5/11 Summerville.
TENNESSEE
Susan Ogilvie
8/2-8/6, Gatlinburg. Arrowmont School of Arts and
Crafts, www.arrowmont.org; www.susanogilvie.com.
TEXAS
Ann Templeton
Oil and Pastel Painting: 5/19-5/21, Georgetown; 6/21-
6/25, Odessa; 10/25-10/29, Salado.
Kitty Wallis Color Intensives
Learn about seeing color, fnding attributes of color,
using color for impact, to create light and depth.
Understand the uses of color in your work. Study your
pastel palette, its strengths and weaknesses.
Basic Color Intensive: 6/4-6/6, Texarkana. 3 days of
color study and painting. Take home at least 30 custom
mixed pastel sticks. Contact Cindy Holmes 903-831-
6727.
Lesley Rich
Figure/Abstract Design, May 10-14, Houston, all levels,
all mediums, to reserve email Marty Hatcher Artist
Retreats, mart4art2@sbcglobal.net
VERMONT
Mel Stabin
Watercolor: Simple, Fast, and Focused. 9/27-
10/1/10 in Landgrove. Sponsored by Vermont
Watercolor Society. All levels. Contact: Annelein
Beukenkamp, 802/864-3840; beukwin@yahoo.com;
www.vermontwatercolorsociety.com.
Sean Dye Studio
Sean Dye Workshops 2010, Oil, Pastel and Mixed
media, 681 Willow Brook Lane, St. George, VT 05495,
802-482-6421, seandyestu@aol.com, www.seandys-
tudio.com. Plein Air Class July 19-23, Vermont, see
website for Burlington, VT, Old Forge, NY, Boone, NC,
Haverhill, NH, Pasadena, CA, and Raleigh, NC.
On Location in Vermont:
7/12-7/16 Landgrove.
WASHINGTON
Dakota Arts
La Conner Art Workshops 2010
Contact: Robyn Williamson 888-345-0067 ext 5.
Mt Vernon WA, www.laconnerartworkshops.com
May 3-7, 2010: Maggie Price, Color and Value
in Pastels
May 13-16, 2010: Dawn Emerson, The Dance of
Drawing with Pastels
May 21-24, 2010: Larry Calkins, Eclectic Experimental
Encaustic Lab
June 3-7, 2010: Christopher Schink, Finding a
Personal Direction in Watercolor
June 11-14, 2010: Diane Townsend, Going into
Abstraction in Pastels
June 21-25, 2010: Robert Burridge, Loosen up with
Aquamedia Painting
July 10-18, 2010: Richard McKinley, Pastel Plein Air
Boot Camp
July 19-23, 2010: Peggy Zehring, Experimental
Painting/Dimensional in Acrylics
July 23-25, 2010: Richard McKinley, Plein Air Oils
July 26-30, 2010: Peggy Zehring, Experimental
Painting/Dimensional in Acrylics
July 30-Aug.2, 2010: Robert Gamblin /Catherine
Kumlin, Expressive Colors-Oil Plein Air
Aug. 6-9, 2010: Teresa Saia, Moody Weather in Pastels
Aug 13-16, 2010: Larry Calkins, Eclectic Experimental
Encaustic Lab
Aug 23-27, 2010: Mel Stabin, Plein Air Watercolor-
Simple, Fast & Focused
Sept. 10-13, 2010: Elizabeth Mowry, Plein Air Painting
& Mentoring in Pastel
Sept. 17-19, 2010: Elizabeth Mowry, Plein Air Painting
& Mentoring in Pastel
Sept. 23-27, 2010: Lorenzo Chavez, Plein Air Pastels
and Oils
Mel Stabin
in Mt. Vernon. Sponsored by La Conner Art Workshops.
All levels. Contact: Robyn Williamson, 888/345-0067;
robyn@laconnerartworkshops.com;
www.laconnerartworkshops.com.
Painting Glass and Other Shiny Stuf in Watercolor:
7/30-8/1, Seattle. Cost $300. For details or to register,
LaConner Art Workshops, Mt Vernon. Contact Robyn
Williamson, 888-345-0067 x5; robyn@laconnerartwork-
shops.com; www.laconnerartworkshops.com;
www.robertburridge.com.
Watercolor: 7/19-7/23, Gig Harbor. Contact (800) 491-
7870; toncouch@mindspring.com;
www.tonycouch.com.
WISCONSIN
Baumgaertner Atelier
Margaret Carter Baumgaertner
Mentoring Workshop: 6/1-6/4, 7/27-7/30, $600/each
Oil Portrait: 6/6-6/13 ($625), 6/26-7/9 ($900)
Plein Air Portrait: 6/15-6/19, $500
Charcoal Portrait: 6/21-6/24, $375
Portrait Sculpture: 6/27-7/8, with Mike Martino. $200
Advanced Portrait: 7/11-7/24, $900
The Baumgaertner Portrait Atelier: 6/21-7/24, $1,900
Contact: 608-788-6465; baumportrait@cs.com;
www.portraitclasses.com; www.baumportrait.com.
Dillmans Creative Arts
James Stiles: 5/16-5/21, Digital Photography & Adobe
PhotoShop, $375
Thomas Owen: 5/16-5/22, Watercolor: Your Partner to
Success, $475
Rhonda Nass: 5/24-5/28, Spring Escape with Colored
Pencil, $285
Carol Spohn: 5/24-5/28, Watercolor: Let the Water do
the Work, Mixed Media, $310
Ellen Roles: 5/30-6/4, Watercolor: Design and Color
Choices, $400
Jeanne Ruchti: 5/30-6/4, Fun with Watercolor Portrails
/ Colorful Characters, $400
Teri Sweeney: 5/30-6/4, Rocks, Trees and Water in
Watercolor, $460
79 June 2010
Lois Grifel: 6/6-6/12, Painting the Impressionist
Landscape - Oil / Pastel, $525
Cecile Baird: 6/6-6/12, Capture Light in Colored Pencil,
$475
Brenda Mattson: 6/6-6/12, Paint Sunset and Water in
Oil / Pastel, $485
Carrie Burns Brown: 6/13-6/19, Color Emphasis in
Acrylic / Collage, $450
Peggy Grinvalsky: 6/13-6/19, Exploritas: Sketching in
the Northwoods, $347
Susan Louise Moyer: 6/13-6/19, DyeColour Painting
on Silk Technique and Composition, Mixed Media, $540
Arleta Pech: 6/13-6/19, Luminous Oil Glazes, $420
Linda Brubaker: 6/20-6/25, Theorem Painting on
Velvet, Oil/Decorative Arts, $500
Don Andrews: Landscape in Watercolor, 6/20-6/26,
$530
John Salminen: Realism Through Design, 6/27-7/3,
Watercolor, $520
Terry Isaac: Painting the Drama of Wildlife, Acrylic,
7/4-7/10, $530
Janet Rogers: Watercolor Rhythms with Flowers, Faces
and Figures, 7/4-7/10, $450
Tom Lynch: Putting the WOWin Watercolor, 7/11-
7/17, $495
Richard McDaniel: Landscapes on Location in Oil,
8/8-8/14, Oil/Pastel, $560
Bridget Austin: Fine Tune Your Watercolor, 8/22-8/27,
$475
Robert and Kathryn Burridge: Contemporary Artist
Retreat, 8/22-8/28, Acrylic/Collage, $590
David Taylor: Leaping Ahead in Watercolor, 8/29-9/4,
$565
Alvara Castagnet: Vibrant Watercolors, 9/5-9/11, $475
Ron Ranson: Big Brush Watercolor, 10/3-10/9, $505
Contact: 715-588-3143; art@dillmans.com;
www.dillmans.com
Kristy Kutch
Colored Pencil: Delicate to Dynamic 9/13-9/16 at
Harbor Shores Best Western, Lake Geneva, WI. Spon-
sored by Kristy Kutch Colored Pencil Workshops, 11555
West Earl Road, Michigan City, IN 46360, www.artshow.
com/kutch. Call Kristy Kutch at 219-874-4688 or
email kakutch@earthlink.net . Tuition ($275) includes
welcome dinner.
Colored Pencil/ Watercolor Pencil Traits, Tech-
niques, and Tips. 10/9 (wax-based colored pencils)
and 10/10 (watersoluble colored pencils). Enrollment
available for either or both days. Classes held at
Artist and Display store, 9015 West Burleigh Street,
Milwaukee, WI 53222, www.artistanddisplay.com. Call
800-722-7450 or 414-442-9100,
email info@artistanddisplay.com .
Dramatic Landscape in Watercolor: 8/20-8/22, She-
boygan. Cost $300. For details or to register, contact
Marla Jackson, marlamjackson1@aol.com.
Peninsula School of Art Wisconsin
920-868-3455. E-mail Tori Daubner, Registrar, at info@
peninsulaartschool.com. Website: www.peninsula
artschool.com. Workshops in all media and all levels
with notable instructors. 40-year tradition of educa-
tional excellence. Plein air workshops in inspirational
Door County settings.
WYOMING
9/15-9/20 SKB Workshop, Dubois.
INTERNATIONAL
CANADA
Leading Edge Art Workshops. Contact Louise Hall,
403-233-7389; louise.hall@shaw.ca;
www.greatartworkshops.com.
Larger and Looser: The New Masters Program for
the Postmodern Painter: 6/6-6/8. Alberta Artists.
Contact Karin Richter, 403-272-1471;
karinrichter@shaw.ca. www.robertburridge.com
Karen Martin Sampson,
upcoming workshops
in Sayward Valley, north Vancouver island studio:
August 28 - 30, Figure Painting, oil or pastel
October 2 - 3, Working with Still Life, any media
Limit, six students; lunches included
www.karenmartinarts.ca 1-250-282-0134
FRANCE
Atelier St Luc
Ian Roberts: Plein Air Painting in Provence, 6/1-
6/10/10. Contact www.ianroberts.us
Flying Colors Art Workshops
Frank Webb, AWS: 6/17-6/27, Brittany/Normandy.
Contact Johanna Morrell, (858) 518-0949;
fyingcolors@me.com; www.fyingcolorsart.com
free color brochure.
GUATEMALA
Antigua and Lake Atitlan: 10/29-11/8
Watercolor class tuition, hotels, private coach transpor-
tation, most meals. $2295.
ITALY
Corse Gallery and Atelier
Romel de la Torre: Outdoor Figure Painting,
Tuscany, Italy, 5/29-6/5/10. Contact: 877-386-8205;
www.CorseGalleryAtelier.com
Landscape Painting in Amalf. June 23-30, 2010.
Amalf, Italy. Instructor: Sam DAmbruoso, $2,975, re-
duced rates for guests, all levels, tuition, meals, accom.,
ground trans., activities.
Portrait Painting in Tuscany October 3-9, 2010.
Tuscany, Italy. Instructor: Laurel Stern Boecke, $2,975,
reduced rates for guests, all levels, tuition, model fee,
meals, accom., ground trans., activities.
Land- and Seascape Painting in Sicily. Oct. 13-20,
2010. Tuscany, Italy. Instructor: Sam DAmbruoso,
$2,975, artists; reduced rate for guests, all levels,
tuition, meals, accom., ground trans., activities.
ALL WORKSHOPS SPONSORED BY: Traveling Palette Art
Workshops, DAmbruoso Studios LLC, 67 Richardson
Drive, Middlebury, CT 06762, 203-758-9660,
SamDAmbruoso@comcast.net,
Etruscan Places
Open Air Fundamentals: Maddine Insalaco and Joe
Vinson, 5/15-5/22, 9/11-9/18, 10/16-10/23, Buoncon-
vento and Montalcino, Tuscany. All levels. $2,000-
$2,350
Advanced Open Air Seminar: Maddine Insalaco and
Joe Vinson, 5/29-6/5, Murlo, Tuscany. Advanced paint-
ers only. $2,275- $2,600
Roman Campagna: Maddine Insalaco and Joe Vinson,
6/19-6/26, Civita Castellana. Advanced Painters only.
$2,000-$2,350
Elements of Landscape: Maddine Insalaco and Joe
Vinson, 10/2-10/9, Buonconvento, Tuscany.
Intermediate and above. $2,000-$2,350
Contact www.landscapepainting.com.
Don Andrews, AWS, NWS: 9/1-9/10, Venice.
Judy Morris, AWS, NWS and Carla OConnor, AWS,
NWS: 9/14-9/24, Lucca.
Contact Johanna Morrell, (858) 518-0949; fying
colors@me.com; www.fyingcolorsart.com free color
brochure.
Kim Weiland
Montalcino, 7/28-8/11: Join National Artist: www.
KimWeiland.com and Dr. Gary Pavlis, Wine Expert
Rutgers University for The Ultimate Tuscan cultural
immersion experience. Paint, explore & sample wines
of the Brunella Vineyards. 14 days, includes Air, D.O.
Apartment & car @ Approx $3900pp.
www.untours.com/arttours
LaRomita
Benno Philippsen: 6/26-7/10
Grace Rankin and Kathleen Mattox: 7/13-7/27
Marian Dunn: 9/04-9/18
Fritz Kapraun and Bob Rankin: 9/21-10/05
Contact: 800-519-2297 access code 03; 202-337-3120;
schoolinfo@laromita.org; www.laromita.org.
Lesley Rich
Plein Air, all mediums, Venice Sept 15-25, 2010, $1980
for art instruction, daily breakfast and accommoda-
tions, see lesley@lesleyrich.com for additional informa-
tion and brochure or call (650) 856 6897.
Sedona Arts Center
Adele Earnshaw and Joe Garcia: Plein Air Painting in
Tuscany, 9/4-9/11
Michael Schlicting: An Adventure of the Imagination
in Tuscany, 9/11-9/18
Betsy Dillard Stroud: Memories of Tuscany, 9/22-10/1
Contact: Vince Fazio, 888-954-4442; www.Sedona
ArtsCenter.com.
Susan Truitt
Calvin Liang, OPAM, AISM: Tuscany
Plein Air Landscape, May 15-22, 2010, $2650/single
occupancy. Limited to 8 participants.
Painters Retreat-Uninstructed: Tuscany (Olive Har-
vest), November 6-13, 2010, $1800/single occupancy.
Limited to 10 participants.
Brian Stewart, PAPA: Tuscany, Plein Air Landscape,
April 8-15, 2011, $2650/single occupancy. Limited to 8
participants.
Painters Retreat-Uninstructed: Tuscany (Olive Har-
vest), November 5-12, 2011, $1800/single occupancy.
Limited to 10 participants. For more information please
see www.openairitaly.com, email stop@cf.rr.com, or
call Susan Truitt at 1-321-777-3964.
SPAIN
Charles Gruppe
Barcelona, Biarritz, San Sebastian, 8-days (Septem-
ber 5). Includes air, 4-star hotel, charter buses. $2,300.
Contact 772-569-0844; www.charlesgruppe.com.
SWITZERLAND
Mel Stabin
in Lauterbrunnen. Sponsored by Flying Colors Art
Workshops. All levels. Contact: Johanna Morrell,
858/518-0949; fyingcolorsart@me.com;
www.fyingcolorsart.com.
Mel Stabin, AWS, NWS: 7/18-7/29, Lauterbrunnen.
Contact Johanna Morrell, (858) 518-0949;
fyingcolors@me.com; www.fyingcolorsart.com -
free color brochure.
Susan Truitt
Kenn Backhaus, PAPA, OPAM: Switzerlands Lauter-
brunnen Valley, Plein Air Landscape, July 16-23, 2010,
$2650/single occupancy. Limited to 8 participants.
For more information please see www.openairitaly.
com, email stop@cf.rr.com , or call Susan Truitt at
1-321-777-3964.
TAHITI
Paint in Paradise: 11/2-11/10, Tahiti/Bora Bora. For
details or to register, contact Marla Jackson,
marlamjackson1@aol.com.
competition spotlight
EDITED BY GRACE DOBUSH
I TRAVEL TO o-the-beaten-path
locations to paint en plein air, so I
need supplies that are simple: no sol-
vents, no xatives, nothing that could
be conscated in an airport. Wallis
sanded paper, watercolors and pastels
t that bill.
For ve years I worked as a
surgical illustrator in Kathmandu. I
went back last fall to paint, setting up
my easel across a gorge, overlooking
a hillside covered with typical Nepali
houses and gorgeous rice terraces.
White wash and red mud brick, blue
aluminum roofs, red soil, green stalks
and yellow riceit was habitation as
well as cultivation, bathed in
beautiful fall light.
To start a composition, I use a
small viewnder and my digital cam-
era in black-and-white mode, and I
do a couple of quick thumbnails in
three values. Laying out the basic
shapes with a Nupastel or a pastel
pencil, I then do a very loose under-
painting in watercolor, which pretty
much obliterates the drawing. I like
the underpainting to peek through,
but, because I know much of it will
be covered by pastel, I can be very
free at this stage, letting the paint
drip and pool.
Here in Beijing I paint full time
and teach painting and drawing
classes. When painting, I get in the
zoneI think its akin to being in
a meditative state. Perhaps its the
endorphins, maybe its the right-
brain activitywhatever it is, I like
to be there, and I like to teach others
how to access that state.
Competition Spotlight artists are chosen from competition
nalists. View winning entries from our 26th Annual Com-
petition at www.artistsnetwork.com/article/2009winners.
web
EXTRA
Kathy Hirsh
Beijing, China www.kathyhirsh.com
Kathmandu Hillside (watercolor and pastel,
9x12) was a nalist in the landscape category
of the 26th Annual Art Competition.
80_TAM0610Spotlight.indd 80 3/19/10 4:01:30 PM
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COmInG SOOn
Splash 11: New Directions
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Artists Magazine June 2010

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Artists Magazine June 2010

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FnL1 04 0120 01 JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAo

Premier Canvasis the

RETAl LER SP0NS0R

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