Workshops in Austin

Atelier Dojo is proud to offer workshops with world-renown artists. We offer full day (6 hours per day) workshops that range from 3-5 days and are typically scheduled over weekends. Study with living masters in an intimate and welcoming environment in Austin. Explore our upcoming workshops below and register today! 

Have any questions? Get in touch with us for more information!

Andrew Cadima:

Dichromatic Portraits

andrewcadima.com

July 10-12, 2026

9:30 AM - 4:30 PM

3 DAYS: $550

COURSE DESCRIPTION

An in-depth study of value scaling between different pigments. We explore how different colors and varying value ranges can affect the tone and expression of a painting.

• Day 1: Intro to color and open value portrait

  • 09:30: General talk/meet and greet

  • 10:00: Demonstration of a "full" value portrait, focusing on larger gestures, moving quickly, and how to best space out a value structure. I'll try to get through several sketches demonstrating the interaction of different colors with each other.

  • 11:30: Students choose their colors and work on their own sketches from the same model/reference. I'll walk and offer individualized guidance.

  • 12:30: Lunch

  • 1:30: Another demo working with a different set of colors, focusing on preserving and utilizing vibrancy.

  • 2:30: Students once again choose their colors and work on their own sketches as I walk to offer guidance.

• Day 2: Narrowing the value range

  • 09:30: General talk about the day/"post-mortem" of previous day

  • 10:00: Demonstration using colors that force us into a narrower value range; how to cope with and maximize the effectiveness of the limitation

  • 11:30: Students choose their colors and work on their own sketches

  • 12:30: Lunch

  • 1:30: Since this is usually a much more difficult and foreign approach for the students, I find it useful to have an open talk about the issues we ran into and demonstrate how we might overcome those problems. If students are willing, I'll take them and their work to the presentation easel and we'll try and "fix" things together

  • 2:30: Apply new knowledge, potentially choose another color profile, and work on another sketch

  • 4:00: (potentially have each participant sit for a photo under identical lighting conditions to be used the following day. If a student is absolutely unwilling, I will provide a reference for them)

  Day 3: Committed self-portrait

  • 09:30: Talk about the mindset of committing to a painting beyond the sketch, the difference of painting from photo reference, the experience of painting one's self

  • 10:00: Demonstration of a more committed painting from a photo reference (one that we will have taken earlier)

  • 12:00: Lunch

  • 1:00: Students have the choice to utilize any of the colors we previously discussed, and work on their own self portraits. I'll walk to observe and offer guidance.

Supply List

• I will supply the paint

• I think I will have brushes for everyone but 'bring your own brushes' is ideal (I will be using Trekell Golden Taklon flat 2, 4, 10, but brand isn't necessary)

• I'm usually pretty open about surfaces, but I will use (and prefer) a primed hardboard/wood panel, around 11"x14" x5 per student (I'll try and bring extras for people)

ATELIER DOJO WORKSHOP POLICIES

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

Jennifer Balkan:

Harmonious Color in Figure Painting: painting the figure in its environment with a limited palette

www.jenniferbalkan.com

July 31 - August 2, 2026

9:30 AM - 4:30 PM

3 DAYS: $550

COURSE DESCRIPTION

In this workshop you will work on one medium sized figure painting (and a preliminary sketch) which may include props and additional compositional elements either abstract or representational.  My intent is that students will improve upon their overall approach to painting the figure emphasizing brush control, paint mixing, and color harmony — with special attention to developing an understanding of how color harmony is critical to achieving a compelling realistic composition. We will approach the figure constructively incorporating a discussion of anatomy, posture and dynamics of the pose; We will explore shape and color as we create compositions which include the contextual elements around the figure, utilizing props/accessories to create a narrative.   Jennifer will be demonstrating how color, value and temperature choices are critical to creating a convincing context no matter what that context is. In order to achieve a beautiful harmonious color scheme, she will require students to use a limited palette.

We will paint 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. This class is designed for all levels of painters who have life drawing *and* figure painting experience.  Jennifer will be doing demonstrations throughout the workshop and students will be working from a live model.

SUPPLY LIST

• Pending

INSTRUCTOR BIO

Jennifer grew up in New Jersey and began to draw at a very young age. She studied neuroscience at Lehigh University and later attained her Ph.D. from UT Austin in Sociology in 2001 after conducting anthropological fieldwork in Mexico. Although her experience in Mexico was rich, Jennifer longed for artistic creativity. In August of 2001, Jennifer spent a month in Spain, France, and Italy where she saw masterworks that would become her inspiration. Upon returning, she began studying panting and drawing from observation, taking classes at Laguna Gloria Art School and the Austin Fine Arts School leading to further study at the Art Students League in Denver and through various painting workshops. She’s been teaching figure and portrait painting in oils to small groups of students since 2006.

ATELIER DOJO WORKSHOP POLICIES

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

Lucas Bononi:

Figure Drawing & Painting: Academic Expressionism

www.lucasbononi.com

August 17-21, 2026

10 AM - 5 PM

5 DAYS: $875

COURSE DESCRIPTION

In this unique course with New York City–based artist Lucas Bononi, students will explore how an academic approach to modeling form, combined with dynamic symmetry in composition, can enhance their ability to work from a live model in an expressive style.

The traditional concept of form is the central theme, focusing on how painters and draftsmen sculpt volume in relation to a light source. Lucas will lecture on the properties of form, the physics of light, optics, and dynamic symmetry—an essential design principle that harmonizes proportion and composition. This structured framework allows students to depict convincing three dimensional volumes within balanced, visually compelling designs.

Students will apply these principles to create expressive, stylized works that blend structural clarity with personal creativity. The course offers a balance between academic rigor and artistic freedom, encouraging contemporary experimentation while maintaining a strong foundation. Lucas provides personalized guidance throughout, helping each student develop a deeper understanding of their artistic voice.

Regarding his approach to Form Expressionism, Lucas explains:

The balance between realism and expression has always been central to my work. My academic training in naturalism gave me a deep understanding of structure, form, and the behavior of light, while years of exploring abstraction expanded my visual language and sense of freedom. Rather than existing as opposites, these two forces strengthen one another, much like the harmonies found in dynamic symmetry. I am equally drawn to disciplined observation and intuitive expression, because it is in their coexistence that the work becomes most alive.

Key Concepts & Skills in this Course

• Develop personal voice and style through a basis in academic drawing & painting principles

• Design a visually compelling composition while working from the live model

• Explore strategies to balance technical knowledge of anatomy and form, with working in a loose and expressive manner

• One-on-one guidance from Lucas in order to gain greater understanding of what you wish to say with your art, and how to achieve this vision

Supply List

DRAWING MEDIA

• Drawing Pencils (Tombow MONO professional HB)

• SandPaper 180 grit (used as Pencil Sharpener)

• Pencil Eraser (Tombow MONO Zero Refillable Eraser - Round or Rectangular)

• Large Kneaded Eraser

• X-Acto Knife or any blade for sharpening pencils

• X-Acto Clips for holding drawing paper on your board

• Knitting Needles or Metal Barbeque Skewers or bicycle spoke (for comparative measuring)

• Richeson & Co Hardboard (14 x 18 in. to 18 x 24 in.) — sturdy support surface or substrate for mounting watercolor paper

• Raymar Oil Painting Panels 58A, Arches Oil Paper Panels - 1/8" MDF, Masterpiece Mixed Media Panels, Chartapanel Tan Strathmore 400 Series (14 x 18 to 18 x 24 inches)

• Artists’ Acrylic Matte Medium (Utrecht) - to seal drawing for painting

HEAVY WATERCOLOR PAPERS (Smooth / Slight Tooth) - optional only if mounting yourself

• Magnani Italia Fine Grain – 100% cotton, mould-made, natural white, archival, up to 640 gsm. Smooth with slight tooth, very durable.

• Arches Cold Press (Aquarelle) – 100% cotton, mould-made, 356 gsm & 640 gsm, classic fine grain cold press, stable and archival.

• Fabriano Artistico Extra White Cold Press / Fine Grain – 100% cotton, acid-free, 640 gsm, smooth CP surface, slight tooth, excellent for expressive work.

• Hahnemühle Collection Cold Press / Fine Grain – 100% cotton, archival, » 550–600 gsm, smoother CP surface, ideal for detailed expressive work.

• Canson Heritage Cold Press Fine Grain – 100% cotton, 300 lb / 640 gsm, balanced surface between HP and CP, great for controlled washes.

PALETTE

Glass Palette: An 1/8 inch sheet of glass cut to fit snug into the 12 x 16 in. Masterson Artist Palette Seal (Red lid). Place a 12 x 16 in. grey palette paper sheet underneath. This box is great for storage, transport and keeping paint wet.

MEDIUMS & SOLVENTS

Brush Tank or Washer (with grate/mesh). Use safflower oil (Rublev) or thinner (Sennelier #Green for Oils). If Sennelier #Green is not available, a professional substitute is a mixture of 50% Gamsol and 50% Walnut Oil, which provides a safe and balanced alternative. You will also need a small jar (1–2 oz) for medium.

BRUSHES (Silver Silk 88 – Purple Handle Series)

• Silver Silk 88 Flats – Sizes 6, 8, 12

• Silver Silk 88 Filberts – Sizes 6, 8, 12

• Silver Silk 88 Rounds – Sizes 6, 8

• Silver Silk 88 Brights – Sizes 6, 8, 10

• Silver Silk 88 Large Wash/Glaze Brushes – 1 inch, 2 inch

RECOMMENDED OIL Paints

• Ivory Black (Michael Harding)

• Vine Black (Michael Harding)

• Raw Umber (Gamblin)

• Burnt Umber (Michael Harding)

• Burnt Sienna (Michael Harding)

• Ultramarine Blue (Cranfield)

• Phthalo Green (Winsor & Newton)

• Neutral Tint (Old Holland)

• Alizarin Claret (Michael Harding)

• Transparent Red Ochre (Winsor & Newton)

• Transparent Oxide Yellow (Rublev)

• Cad-Free Scarlett (Winsor & Newton)

• Cad-Free Orange (Winsor & Newton)

• Blue Ridge Yellow Ochre (Rublev)

• Cad-Free Lemon (Winsor & Newton)

• Transparent Marble White (Richeson & Co)

• Permalba White (PW6 & PW4: Permalba OIL)

Note: If you are unable to mount the paper for any reason, painting directly on top of the watercolor paper is fine as long as the paper is heavier than 500 gsm. All other materials — including brushes, mediums, and paints — are optional. The only requirement is that the substrate be paper. I encourage you to use the materials you feel most comfortable with. Even the paint list is flexible: thanks to the Munsell color system, we are able to maintain a high level of adaptability while still achieving accurate and expressive results.

INSTRUCTOR BIO

Lucas Bononi (b. 1991, Los Angeles) is a contemporary painter based in New York. Trained in expressionism at the Academy of Art University San Francisco, where he earned his BFA in painting, and in naturalism at Grand Central Atelier, he now teaches its core program. Bononi’s paintings intricately weave the human form with elements of nature, using nuanced color and light to create a marbling effect that blends flesh with natural landscapes such as rivers, forests, and fire. This interplay seeks to reconnect viewers with primal perception through sensation rather than symbolism, inviting a renewed attentiveness to the physical world. His work challenges conventions in contemporary figurative painting by exploring the tension between figuration and abstraction, where forms emerge, dissolve, and reconfigure within the same visual field.

ATELIER DOJO WORKSHOP POLICIES

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