http://dannyferland.com

August 25-27, 2023

9:30 am - 4:30 pm

3 Days: $550

Please email info@atelierdojo.com if you’d like to be added to the workshop wait list.

Course Description

Learn to paint dynamic portraits from life in this intensive 3-day master class with artist Danny Ferland.

What can I expect?
Danny will give a live painting demonstration on the first half day of the workshop, giving students direct access to his unique painting approach and the opportunity to watch every step of his process. Starting with an initial block-in of the head using vine charcoal, the drawing will then be sealed off with a burnt umber underpainting before progressing to the use of a full-colour palette.Students will then practice this approach themselves over the remainder of the course, completing their own portrait painting from life. Each student will receive a high level of individual attention and one-on-one critique from Danny, who will instruct his students on drawing, colour mixing, and paint application in order to achieve a convincing likeness to the model.

How many students will there be?
There is a maximum of 12 participants and the tutor will customise the course according to your individual needs.

Supply List

Painting surface:
Students can bring whichever surface they prefer. Claessens Linen portrait grade 13, Dibond panels and primed Canvas mounted on wooden panels and/or stretched canvas are all good choices. A thin wash of Ivory black (very thin and wiped out) can be used. A very light grey would be the proper result. A white background is also ok. Size wise, 16 x 20 inches would be good. Smaller sizes are fine too if students prefer.

Paint brushes:
Bring a variety of brushes that you’re comfortable using. Here are some of our recommendations:

• 2 x Size 2, Size 4 and Size 6 (filberts and your preferred brushes)

• 1 x Size 2 long flat

• 2 x Size 0 rounds

Oil Paints:
The colours listed below are Danny’s standard palette. However, these are an indication only and not a precise requirement for the workshop. Feel free to bring others. If you have any questions about this, do ask!

• Lead White or Tiatanium white

• Violet Grey

• Lemon Yellow

• Cadmium Orange

• Cadmium Red

• Raw Sienna

• Burnt Sienna

• Viridian Green

• Alizarin Crimson

• Ultramarine Blue

• Burnt Umber

• Ivory Black

Mediums/other :

• Low-odour solvent (Gamsol) in a jar to clean brushes

• A wooden palette or something non porous to mix your paint on. Disposable palettes are also an option.

• Some kitchen towels to wipe your paint brushes with.

• Palette knife

ATELIER DOJO WORKSHOP POLICIES

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.

March 5-7

9:30 am - 1:30 pm CST

3 Days: $475

Remote Portrait Painting: Focus on Facial Features with a Limited Palette

Let’s make this feel like we are together learning, chatting and painting!
Class will consist of three 4-hour zoom meetings through the Zoom app where I will be giving lectures and demos and students will be painting. It has been so important for me and my colleagues at Atelier Dojo to teach painting from observation. In the remote format, we are not able to do that. So…… I hope to use whatever tools we’ve got to supplement the photo reference we will be using. We will discuss head anatomy by looking at the skull, a Planes of the Head prop and use images of multiple perspectives of the same features of our models (much like a sculptor would do) in order to truly understand the topography of the head and to be able to get a three-dimensional feel to your work on facial features and portrait. Students will be provided with these multiple photo references.

Students will be expected to continue working on their paintings after the zoom session is over.

During class we will communicate through Zoom and through texts or WhatsApp (international) in order for me to provide you with feedback on your work. After each day students will email me an image of their painting progress and I will get back to them with feedback.

For the extent of the weekend, students will have access to multiple recordings the demos outside of class.

We will approach painting by learning to see our environment as composed of simple shapes and values, lay down shadow and light masses with confident brushwork, which will lead to stronger visual statements and weightier paintings.

Our goal is to see the face as an abstract composite of dark and light shapes (values) in order to create a strong value statement and to get proportionally accurate facial features, both of which will contribute to a compelling composition and statement of light and shadow. We will be focusing specifically on the eyes, nose and mouth — thereby doing multiple studies of human facial features. We will discuss the shapes, form and geometry of an eye, a nose and mouth in order that when drawing and painting the portrait, the student can understand underlying form under the flesh which determines the particular pattern of value describing said feature. Understanding this will lead to a more successful visual description and paint application resulting in a more realistic head or portrait.

We will begin our study doing monochromatic value studies using a monochromatic palette in order to focus solely on values. We will later discuss color; specifically some color theory, color harmony and choosing a palette. Students will complete a monochromatic study of the head and/or studies specifically on features; and color studies of various features on different models. On Day 1, we will work in monochrome to understand the head and take a closer look at facial features.
On the second day, we will turn to color and continue our study of facial features. On day three, we will incorporate our feature study into a portrait.

Some observational drawing and portrait painting experience recommended.

Materials list forthcoming.

January 8-10

10:00 am - 1:00 pm CST

3 Days: $375

Remote Portrait Painting Workshop with a Limited Palette

Let’s make this feel like we are together learning, chatting and painting!

Workshop will consist of three 3-hour zoom meetings through the Zoom app where I will be giving lectures and demos and students will be painting. It has been so important for me and my colleagues at Atelier Dojo to teach painting from observation. In the remote format, we are not able to do that. So…… I hope to use whatever tools we’ve got to supplement the photo reference we will be using. We will discuss head anatomy by looking at the skull, a Planes of the Head prop and use images of multiple perspectives of the same model (much like a sculptor would do) in order to truly understand the topography of the head and to be able to get a three-dimensional feel to your portrait work. Students will be provided with these multiple photo references.

Students will be expected to continue working on their paintings after the zoom session is over.

During the workshop we will communicate through Zoom and through texts or WhatsApp (international) in order for me to provide you with feedback on your work. After day 2 & day 3, students will email me an image of their painting progress and I will get back to them with feedback.

For the extent of the weekend, students will have access to a recording of the demo outside of class.

We will approach painting by learning to see our environment as composed of simple shapes and values, lay down shadow and light masses with confident brushwork, which will lead to stronger visual statements and weightier paintings. Our goal is to see the face as an abstract composite of dark and light shapes (values) in order to create a strong value statement and to get proportionally accurate facial features, both of which will contribute to a compelling composition and statement of light and shadow. We will begin our study doing monochromatic value studies using a monochromatic palette in order to focus solely on values. We will later discuss color; specifically some color theory, color harmony and choosing a palette. Students will complete a monochromatic study and a color study of the same model.

Some observational drawing and painting experience recommended.

Materials list forthcoming.

Aug 14-16, 2020

9:30 am - 12:30 pm

3 Days: $350

Alla Prima Figure Painting

This is a 3-day oil painting workshop designed to merge realist painting techniques with modern color and paint application. We will work from “virtual” models via zoom in long poses and learn about composition, color, drawing, and how to make the paint surface interesting. The fundamental theme will be to explore the relationships between realist and abstract painting, as well as exploring classic drawing styles and harmonious color. All levels welcome but some experience with oil paints is preferred. We will paint together for 3 hours per day, after which each student will email the instructor images of their painting and a list of questions. The instructor will then write up critiques each afternoon and send them back in the form of an email response. Students are welcome to do several quicker sketches, or focus on 1 or 2 more detailed works over the three days. Hope you can join us!

Bio

Hollis Dunlap was born in 1977 in Northern Vermont in the USA, and has been painting since the age of 14. After beginning his study of realist painting in high school, he went on to study at the Lyme Academy College of Fine Arts, graduating in 1999 after painting and drawing the figure extensively for four years. While at the Academy, he was the first painter to be awarded First Prize at New York's National Arts Club student exhibition for two consecutive years. Hollis was the recipient of the John Stobart Fellowship, awarded each year to a graduating student in recognition of outstanding work, and he is also a 2 time grantee of the Elizabeth Greenshields Foundation. He has had numerous solo shows in New York, Boston, San Francisco, and Miami, and currently paints and teaches painting in Southeastern CT.

Supply List

Oil Paints

• Ultramarine Blue

• Titanium White

• Cadmium Yellow Light

• Burnt Sienna

• Permanent Alizarin Crimson

Brushes - 5-6 natural bristle brushes of varying size from 1/2 cm to 1 1/2 inch, square or filbert shape, 2-3 round brushes for smaller details, and 2-3 softer brushes.

Other

• Palette

• Brush cleaner (Either metal, or “Silicoil” type with turpenoid or gamsol)

• Gamsol or turpenoid

• Linseed or walnut oil

• 12x16 canvas or panels

• Paper Towels

March 6-8, 2020

9:30 am - 4:30 pm

3 Days: $550

Alla Prima Portraits

The emphasis of this workshop will be to grow a deeper sensitivity to what you see and how to understand and paint what you see. Recognizing that style is inherent in the artist, we look at how to ask yourself what it is that you are seeing. We use the model as the beginning of that conversation. What is your relationship to this model? What is my experience of this human being sitting in front on me? How does one translate this into paint?

We approach this questioning by breaking down the alla prima portrait painting process into drawing, value, color, edges and texture. We will be looking at light, at paint quality, and how to use paint to help turn a form or capture a likeness. Rose will demo on day one, teaching aspects of alla prima portraiture as prompted by the class's impetus and curiosity. The next two days will be spent guiding and assisting students at their easels.

Bio

Rose Frantzen has an established history as a working artist, exhibiting figurative, representational, serial, and allegorical works in oil and multimedia in galleries across the country, including the Old City Hall Gallery, which she opened in her hometown of Maquoketa, Iowa. She has had numerous one woman shows and participated in many group shows in galleries and museums throughout the United States. “Portrait of Maquoketa,” a collection of 180 portraits that she painted of her townspeople, was exhibited at the Smithsonian’s National Portrait Gallery. The project now includes a panoramic landscape of Maquoketa painted on 34 suspended panels and is part of the Figge Art Museum's permanent collection. Her work is in the permanent collections of the World Food Prize, the Figge Art Museum, the Cedar Rapids Museum of Art, the Dubuque Museum of Art, Iowa State University, University of Iowa, and has been shown at the Butler Institute of American Art, the Brunnier Museum, the Denver Historical Museum, the Figge Museum of Art, Smithsonian’s National Portrait Gallery, Dubuque Museum of Art, and the Iowa State Historical Museum. She is a three-time award winner in the International Portrait Competition of the Portrait Society of America, including the 2016 and 2018 People's Choice Award. Her portrait commissions include university deans and presidents, governors, and U.S. Secretary of Agriculture, Thomas Vilsack. Frantzen is a frequent demonstrator, workshop instructor, guest lecturer, and panelist discussing art and the artist’s life in the 21st century at museums and national art conventions, and her paintings have been featured in national and international art magazines, podcasts, and journals. Her latest project, “In the Face of Illusion,” is a 4x70' wall of contiguous portraits and figures in dialogue with optical illusions.

Supply List

EASEL

Easels are provided.

PALETTE

If you have a palette that works for you, bring it. My palettes range in size from 16" x 20" to 18" x 24". I make them with a piece of 1/8" Plexiglas, then with a middle value, neutral gray piece of cardboard taped to the underside of the Plexiglas. (One might use the back of a large sketch pad or piece of Claessens linen. I use the back of an old painting.)

CANVAS

Please bring at least two possibly three canvases, ANY SIZE ranging from 16" x 20" to 24" x 30".

Stretched Canvas or for those who stretch their own canvas, I buy/use rolls of: Artfx Belgian Linen Canvas 64C (4 layers primed) Utrecht Claessens Belgian Linen (portrait weave dp) stock no. 44713. I have a 5yd roll of this for students to buy at cost. We can cut pieces from my roll, you need to bring stretcher bars or better, old paintings to stretch over, with the new piece. We will prep canvases and arrange for students painting after my demo on Monday.

Canvas Panels – It's been a while since I've used these if you have a panel source you like you can use them. However, I do not recommend acrylic gesso cotton duck canvas panel.

• New Traditions Art Panels (L600 or Claessens #13 (C13)

• Newtraditionsartpanels.co

• Gesso Boards Ampersand (art stores)

• Artefex (lead-primed on di-bond) Search for on Google

NOTE: I do not recommend cotton canvas/panel. I am loathed to use my beautiful brushes on this poor quality product.

BRUSHES

I use a variety of sizes and types in the following brands: (Again buy what you wish or use what you have.)

Hog bristle filberts and synthetic, flats and rounds: (most used sizes: 4, 6, 8, 10, 12)

• Dick Blick Masterstroke dickblick.com

• Classic and Chungking Rosemary& Co rosemaryandco.com

• Tuscan series: rounds and fats by Utrecht dickblick.com

• Silver Brush Bristlon Synthetic Brushes google for them

Badger/mongoose: (most used sizes: 2, 4, 6, 10)

• Series 278 & 279 Rosemary&Co

• Masters Choice Long flberts and fats rosemaryandco.com

Red-sable filberts and flats: (most used sizes: 2, 4, 6, 10)

• Dick Blick Masterstroke dickblick.com

• Series 91, 93 & 7320 Rosemary & Co rosemaryandco.com

• Trekell trekell.com

• Utrecht Rhenish Kolinsky dickblick.com

Red Sable long fats and riggers: (range from 1 -10)

• Series 88 & 90 Rosemary & Co. rosemaryandco.com

NOTE: If you are flying I recommend that you bring your brushes as carry-on rather than putting them with your luggage.

PAINT

This is my current palette; I have listed All of it for your interest. I am continuously experimenting with color, and listed below are all the colors I am exploring as of late. I have put in bold the colors/paints that are a basic palette for this week. You only need these to take this workshop. All the paints are Utrecht Professional grade indicated by an (U), unless otherwise noted.

NOTE: The order of the following list is how I arrange my palette.

• Titanium White or Utrecht White (Norma by Schminke, Old Holland, or U)

• Cadmium Lemon (Rembrandt)

• Cadmium Yellow Medium (U)

• Still de Grain Yellow (Rembrandt) or Indian Yellow (by Blue Ridge)

• Cadmium Orange (U)

• Permanent Red Medium (Rembrandt) or

• Cadmium Red med (U)

• Permanent Alizarin Crimson (Gamblin, Old Holland, Holbein)

• Permanent Red Violet (Rembrandt) Radient Red , Radiant Magenta, Radiant Violet

• (all by Gamblin)

• Yellow Ochre (U) and/or Yellow Ochre light (Rembrandt)

• Terre Rosa (any brand)

• Flesh Ochre (Old Holland) Venetian Red (Rembrandt)

• Transparent Oxide red, yellow, and brown (Rembrandt, or Holbein)

• Greenish Umber (Rembrandt)

• Mars Ivory Black (U) or Ivory Black (U), Asphaltum, Van Dyke Brown (Gamblin)

• Transparent Yellow Green (Rembrandt), or Green Gold (by Gamblin)

• Chromium Oxide Green (U or Rembrandt)

• Viridian (Gamblin or U, Blue Ridge)

• Cobalt Blue Pure (U), Radiant Turquoise (Gamblin), King's Blue(Rembrandt) or

• Violet Gray (by Holbein)

• Ultramarine Blue (U, Blue Ridge)

NOTE: If you think of yourself as rather inexperienced, I may want to work with you using a limited palette. This would allow for a softer ease into learning and working with oils. For this, you will need the white, the black, and a burnt umber of any brand. To this we could add a slight bit more color… bring any red, yellow, and blue with the former three and we will find our way.

You may purchase paints/supplies at the following sites:

• dickblick.com

• rosemaryandco.com

• jerrysartarama.com

• aswexpress.com

VIVA Paper Towels. Cheap brands or Bounty do not work well. You can purchase these locally.

PALETTE KNIFE and PALETTE SCRAPER (razor blade and holder)

CONTAINER for your mineral spirits to clean your brushes

SKETCH PAD (small) and preferred sketching medium.

ODORLESS MINERAL SPIRITS Gamsol

MEDIUM My medium is of stand oil, (1part), and Gamsol (5parts)

MISCELLANEOUS

• Thinner - Gamsol made by Gamblin is odorless thinner – I use this for my mediums. NOTE: I will try to have some on hand for those who are flying.

• Please use your discretion when buying paints. You may already own colors that are similar to mine or of different brands. I understand the price of paint and can work with you. Contact me with your palette questions at oldcityhallgallery@gmail.com.

• Canvas - I understand that some folks tape or staple their canvases to a board. This is okay for the head study but not recommended for a longer pose. I will be using quadruple primed linen stretched. If the attendee has a favorite working surface other than these, they should use it. I am aware some people like to work small, and, if this is set in stone, you can do so, though I really wish for people to try something around life-size. It may be prudent to bring a third or fourth canvas/panel.

• Oil Sticks - I may use oil sticks during my demo, if you have some you can bring them, however oil sticks are not a necessary supply.

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.

February 7-9, 2020

9:30 am - 4:30 pm

3 Days: $500

Still Life Painting in Gouache

Working from a variety of natural objects, we will explore the unique qualities of still life painting in gouache. Gouache is a magnificent, water-based media used for creating rich, opaque, paintings that have a wonderful, velvety surface. With this versatile media you can create flowing washes, big bold shapes, or even delicate, fine lines. Starting with some basic exercises to build confidence and understanding of the unique properties of gouache, we will then have the opportunity to paint several contemporary, natural object still life paintings from life. Topics such as composition and design, the historical symbology of certain still life items and basic color mixing will all be discussed. Many still life items such as insects, bones, fruits and vegetables will be on hand for student use, however students are encouraged to bring their own objects that have some visual interest or personal importance. Come explore this exciting media!

About the Instructor:
Alia El-Bermani is a professional artist who received her BFA in 2000 from Laguna College of Art and Design in Laguna Beach CA, where she also taught for several years. This talented figurative painter has had several solo exhibitions, and has also been featured in numerous group exhibitions across the country.  Her paintings and drawings have been showcased in museums such as the Palm Springs Desert Museum in California, the Anchorage Museum of History and Art in Alaska, the West Valley Art Museum in Arizona, the Museum of Contemporary Canadian Art in Toronto and the Greenville Museum of Art in North Carolina. In 2015 her painting Paper Wisheswas acquired by the Museu Europeu d'Art Modern (MEAM), in Barcelona, Spain for their permanent collection. She is also a seasoned instructor who has taught at both the college and workshop level.  She currently teaches ongoing classes at her teaching studio in Raleigh, NC as well as workshops around the country.  She has been honored as a guest lecturer at several universities including East Carolina University, Meredith College, Laguna College of Art and Design and Texas A&M University as well as for the 2016 Symposium for Women in the Arts.  El-Bermani is a member of the Portrait Society of America as well as a co-founder of the important blog Women Painting Women.  Several articles and interviews have been featured in such periodicals as American Art Collector, ArtSee, Art Week, The Independent, the Savvy Painter Podcast and LA Weekly.  She currently lives and works in Apex, NC

Supplies

Gouache:
*Turner Acryl Gouache has generously provided all paint for this workshop! 
The colors I will be bringing for your use:
Titanium White
Mixing White
Lemon Yellow
Yellow Ochre
Raw Sienna
Burnt Sienna
Vermillion
Crimson
Red Violet
Japanesque Greyish Purple
Viridian
Japanesque Pale Blue
ultramarine blue
Japanesque Prussian blue
Raw Umber
Burnt Umber

Palette:Masterson Sta-Wet Palette box (with yellow lid)
Sta-Wet Painter’s Pal Sponge (this should come w/ palette box, but double check – you just need one).
Sta-Wet Painter’s Pal palette paper (30 pack)

Water Media Brushes: 
1” Flat Wash Brush
I use a lot of various size flats and small rounds for details. Bring what you are comfortable with. 

Paper:Fabriano 140lb Hot Press Watercolor Paper 11”x14” Pad minimum of 12 sheets (but you may need more depending on how fast you paint).

Miscellaneous Items:16” x 20”ish board to tape your paper to. Mine is 3/16” birch plywood 

Container for Water (recycled large yogurt container) 

Paper towels

Hat with brim or visor 

Artist tape 

Pencil (I use a mechanical pencil from the grocery store)

Your own Still Life Items. Think about what interests you. Do you like nature items? Beautiful food? Glass? If you are interested in it, it will be easier to make an interesting painting. Be prepared to share.

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.
  
  

Alla Prima Portrait Painting

Alla-prima or Wet-on-wet (is Italian, meaning at first attempt), is a painting technique, used mostly in oil painting, in which layers of wet paint are applied to previously administered layers of wet paint. This technique requires a fast way of working, because the work has to be finished before the first layers have dried. It may also be referred to as direct painting or the French term au premier coup (at first stroke). This three day workshop will apply this painting method to the portrait as our subject, painted from the live model, and each days lesson will build on the previous day. The first day, attention will be paid to proportion and drawing using only brown paint in order to achieve our first painting. The second day's painting will build upon this start, and then also work with flesh-tones in order to build the forms of the surface anatomy. The third day's painting will build upon this by starting the same way, and then also introducing a greater range of color. Repeated practice over the three days makes for increased ability.
The result by the end of the workshop is a greater facility of painting the portrait from life and a better understanding of the building stages from start to finish, combining drawing, modeling surface forms, anatomy, color, and developing a focal point. Each student will leave with three finished alla-prima portraits.

Supply List

CANVAS:

Three 16x20:  acrylic primed cotton duck or oil primed linen/ toned gray. Acrylic primed can be toned gray with Golden neutral gray no. 6, allow 2 days for drying. Oil primed can be tone gray with Alkyd oil paints mixed to a neutral gray, allow 2 weeks for drying. 

BRUSHES:

• Bristle Filbert # 2 (at least 3)

• Bristle Filbert # 4 (at least 3)

• Bristle Filbert # 6 (at least 1) 

THINNER:

• Odorless mineral spirits (e.g. Gamsol) in container with lid.

 RAGS:

• Viva Paper towels (least 1 roll). -Viva is a Kleenex brand and is recommended. Or an old t-shirt.

TOOLS

• Palette knife

• Hand held mirror (we have some at the Dojo, if you’d like to use ours)

PALETTE:

• Large palette (16 x 20 - 18 x 24)

• Wooden palette preferred, treated to prevent paint absorption from the oils in the paints. To treat, apply a coat of regular or quick-dry polyurethane. Let dry, sand lightly. Apply additional coats if necessary. Allow a week to fully cure. Glass palettes and disposable palettes etc. also acceptable.

OIL COLORS:

• Ivory Black

• Burnt Sienna

• Permanent Rose (Alizarin Crimson also acceptable)

• Cadmium Red

• Cadmium Yellow

• Yellow ochre

• Indian yellow

• Viridian

• Ultramarine Blue

• Titanium White (Flake white also acceptable)

This is an abbreviated list of colors from what I usually use. Students may also bring other colors they are familiar with.

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.

Figure in the Environment

Class Description

This workshop will explore how the figure interacts with its environment. We will look at the big picture and at the spatial relationships that situate a figure in its context. We will discuss how the figure can either function as the focal point or be subdued to fit within an overarching motif. Working from observation in oils, we will make small painted studies to hone in on composition, and then work on one larger painting over the 3 days. Focus will be placed on finding accurate value and color relationships that build a complete image. The course will be taught through lecture, demonstration and individual critique.

Artist Biography

Zoey Frank was born in Boulder, Colorado in 1987. Her early inclination to create art was developed by a primary and secondary education in the Waldorf school system. After studying Renaissance art at the age of thirteen she knew she wanted to pursue a career as an artist, and began to daydream about being an apprentice in Raphaelʼs studio in the 1500s. Years later when she discovered Juliette Aristidesʼ Classical Atelier at Gage Academy of Art in Seattle, it resonated as the contemporary equivalent of the Old Mastersʼ studios – a place where she could learn the skills necessary to create powerful and lasting work. Zoey completed four years of training in drawing and painting within the Atelier. She works primarily from life and is captivated by both the idiosyncrasies of the individual objects and people she paints, and the larger archetypes that they can represent. Some of her influences include Rembrandt, Vermeer, Sargent, and Wyeth. She is currently pursuing an MFA at Laguna College of Art and Design.

Supply List

• Palette—I use a hand-held wood palette, glass backed with mid-tone grey paper works well too 

• Palette knife

• Paper towels

• Medium cups

• Jar for turps (Two old condiment jars work well)

• Gamsol or non-toxic alternative

• Linseed oil, or medium of your choice—I’ve been liking the Winsor and Newton painting medium 

• Artist Tape

• Viewfinder

• Paint box or tackle box to hold everything 

Brushes: Bring a wider variety if you have them, but I would recommend at least the following:

• Filbert bristle (sizes approximately no. 1, 4, 6, 10)

• Filbert or flat, Sable or Synthetic Mongoose (2, 4, 6, 8)

Painting Surfaces: One larger painting surface for the workshop, around 16” x 20” or 18” x  24.” Create a nice surface to work on—panel or a smooth canvas, prep your surface before you arrive with gesso, sanding between coats.

Also bring around 5 small surfaces for compositional studies (around 8” x10.”) These could be primed paper, small pieces of smooth un-stretched canvas or something similar, tone these a very light shade of grey.

Paint: Bring a wider variety of paints if you have them, any artist grade brand is great, I’m using a lot of Gamblin these days. Something like this:

Titanium White, Naples Yellow, Yellow Ochre, Cadmium Yellow, Burnt Sienna, Cadmium Red, Alizarine Crimson, Burnt Umber, Raw Umber, Ivory Black, Ultramarine Blue, Phthalo blue, Cadmium Green.

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.

Alla Prima Painting with a Focus on Abstraction

Still Life and Portrait

Alla Prima painting, or wet into wet, single session painting is a stimulating method which teaches you to be present in every brush stroke, focusing only on the essentials, ultimately giving you great dexterity and control. With demonstration and gentle critique, Felicia will challenge you to correctly observe and record the fundamentals: shapes, values, edges and color. 

In this workshop Felicia will combine portraiture, the subject that she was first interested in, and with which she gained her skill, with her current interests in still life, interiors and abstraction.

Felicia is an inspired and creative teacher with 10 years of teaching experience under her belt. She will interact with each student according to their experience and strengths. All levels welcome.

Supplies

• One 12"x16" pad of Arches Oil Paper. If you know this paper and do not like working on it, feel free to use a surface that you do like.

• One Felicia Forte Set of Rosemary and Company Brushes or the equivalent.

• Oil Paint

  • Basic Palette:

    • Titanium White

    • Yellow Ochre

    • Cadmium Red (NOT cadmium red hue or cadmium red light or cadmium red deep)

    • Ivory Black

  • Extras, if you like:

    • Ultramarine Blue

    • Permanent Rose or Alizarin Crimson

    • Cadmium Yellow

• Palette: some suggestions — a sturdy rectangular glass palette which fits into a paint-saver box with the blue lid, or New Wave Palettes.

• Palette Knife

• Gamsol, to thin paint and clean brushes and palette.

• Linseed oil

• 2 Containers for Gamsol/medium: one large container for cleaning brushes wit just Gamsol and one smaller, for clean Gamsol/medium that you will use to thin your paint as you go.

• Paper towels.

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.

FORM AND COLOR WORKSHOP

Describing form in terms of painting, particularly when done from a naturalist reflection, is a highly complex challenge that requires the strongest bond between the painter and materials, particularly pigments. The election of the colors that are going to make up the palette, and consequently dictate the color relationships within the painting, is one of the most fundamental, transcendental decisions that a painter takes. This workshop initially concentrates on how the relations that are generated in the palette have the potential to amplify the specific intention behind the goal of representation.

In this workshop specific daily exercises while working from a life model are going to be done, and based on the palette and the color relationships that are generated in each palette type, drawing, form, structure, gesture, light, atmosphere, expression and color are going to be emphasized.

The goal is to bring the painter closer to identifying and generating a solid dynamic between perception, intention and interpretation through painting, never leaving behind the fundamentals of drawing.

Schedule
Every day 10am-1pm, 2pm-6pm (one hour lunch break)

Day 1
Reduced Earth Palette
Lead White, Yellow Ochre, Terra Rossa, Ivory Black.

Day 3
Cool Temperature/Primary Color Palette
Lead White, Yellow Ochre, Permanent Alizarin Crimson, Ultramarine Blue, Raw Umber.

High Chroma/Primary Color Palette
Lead White, Cadmium Lemon Yellow, Cadmium Red Medium, Cobalt Blue Light.

Materials

Complete Palette:

Lead White (can be replaced with Titanium White), Cad Yellow Lemon, Yellow Ochre, Cad Red Medium, Alizarin, Terra Rossa (can be replaced with Venetian Red), Raw Umber, Cobalt Blue Light, Ultramarine Blue and Ivory Black.

Natural Bristle and Soft Brushes or Synthetic brushes, of varied shapes and sizes (flats, filberts and rounds).

Medium: None

Wooden, Masonite, Glass or Acrylic palette, it’s important that it’s not a white palette.

Panels, Boards or Canvases no bigger than 60x60 cm, previously primed with a neutral tone.

Nicolás Uribe is an American painter, born in Wisconsin, USA, currently based in Bogotá, Colombia. He graduated with Honours from School of Visual Arts in NY. Nicolás has had numerous solo exhibitions both in the US and South America, and has exhibited his work in Mexico, Spain, Egypt, among other countries. He’s done numerous painting workshops in the UK, Spain, Canada and the US. He splits his time between preparing works for upcoming exhibitions and teaching Life Drawing and Painting at the Fine Arts Faculty of the Pontifical Xavierian University in Bogotá. Nicolás is also part of the team at Blank Atelier in Bogotá, where he teaches workshops privately.

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.

Alla Prima Figure Painting

This class is about painting the figure alla prima (wet into wet) and the techniques used to create a fresh, direct response to our subjects.  On the first morning there will be a demonstration, then the class will paint from the model.  Students will learn to look at the nude figure and see it in terms of large, overall basic shapes.  Working on a toned ground, we’ll start by sketching and placing the subject on the canvas.  Then we block in two simple values: light and dark tone.  After that we begin adding mid tones. By learning to simplify form, values and color, we begin to interpret and break down the figure into more understandable tones and shapes instead of becoming distracted by details.  This helps us to paint our subjects with greater clarity and directness. This class will be particularly helpful to students who wish to paint more loosely and to paint their subject with greater economy.

Supply List

• Brushes:  filberts, flats of varying sizes. Avoid soft synthetic brushes   and brights. For stiff synthetics I recommend Silver Bristlon or Rosemary Ivory series. For a natural bristle, any good quality manufacturer will do. (Robert Simmons, Silver brush, Windsor Newton etc.). NOTE:  Bring at least 2 brushes which are ¾” and 1” wide 

• Medium: refined linseed oil, but not cold pressed (NO STAND OIL)

• Odorless paint thinner for rinsing/cleaning brushes

• Rags or paper towels

• Palette  AT LEAST 11 x 14 or bigger

• Neutrally toned gray canvas or panel: Use Liquitex Basics neutral gray for toning 

• panel/canvas  size range 14 x 18 to 16 x 20 inches. Students need 1-2 canvas/panels for each day of the workshop

• Paint cups or old cans. NOTE: Bring jars or cans for your thinner at least 3” in diameter

• Jar with lid for used paint thinner.

• Oil colors:

  • Titanium white

  • Cadmium red light

  • Cadmium orange or equivalent

  • Burnt sienna

  • Yellow ochre

  • Alizarin Crimson

  • Ultramarine blue

  • Purple  

  • Cadmium yellow light

  • viridian green

  • Olive green

  • raw umber

Atelier Dojo Workshop Policies

• Upon request, a deposit of 50% can reserve your spot. Remaining balance will be due 45 days prior to event.

• No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.