Adult Classes and Workshops
All classes are held in the Widener Studio, which offers a professional setting with ample north light, easy access, and plenty of free parking. Registration is on a first-come, first-served basis. Classes and workshops are taught by professional artists, living and working in the Philadelphia area.
You may register for any of our adult classes online or by calling 267-691-0725.
Registration is open for all of our classes begining in January 2020! We recently updated our payment policy for Woodmere's studio art classes. Please click here to learn more.
Unfortunately, Tuesday 2/18's Exploring Abstraction, #4A, class is cancelled. Please contact Amanda Monroe in the education department at: 267-691-0725 regarding refunds and credits.
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
- Painting and Drawing
- Yoga
Y1 | Yoga in the Art Galleries
**Due to gallery restrictions, Yoga class on Monday, February 3rd must be limited to those who have prepaid for the entire session. NO WALK-INS. WALK-INS ARE WELCOME ON FEB. 10, 24, AND MAR. 2. Thank you for your understanding.**
Enjoy a class of meditation and gentle yoga in one of Woodmere's art galleries and surrounded by beautiful works of art. The class will be infused with themes for self-care, creativity, and self-love. Schelter's teachings and classes promote a positive growth mindset through the intimacy of intention, creative visualization, deep breathing, longevity, core strength, a gratitude circle, deep relaxation, release, mindful self-reflection and insight, humor and laughter.
Please bring:
- Towel
- Yoga mat
- Blanket
Y2 | Yoga in the Art Gallery
Enjoy a class of meditation and gentle yoga in one of Woodmere’s art galleries and surrounded by beautiful works of art. The class will be infused with themes for self-care, creativity, and self-love. Schelter’s teachings and classes promote a positive growth mindset through the intimacy of intention, creative visualization, deep breathing, longevity, core strength, a gratitude circle, deep relaxation, release, mindful self-reflection and insight, humor and laughter.
Please bring:
- Towel
- Yoga mat
- Blanket
W2 | Exploring Watercolor
Explore watercolor and discover the possibilities with a variety of water based media such as pencils, crayons, and paints to develop your personal expression and imagery . You may work from your own photographs or from still life set-ups. The instructor will provide demonstrations for all mediums.
Please bring ideas for the paintings you want to make. E.g.
- Sketch book
- Photographs
The instructor will also bring a still life set-up that you can paint from.
Instructor will provide watercolor tube paints, water-soluble crayons and pencils, watercolor paper and a still life set-up.
Supplies you should bring:
Any watercolor materials that you already have. E.g. paint, brushes, paper,etc
Plastic or tin containers for water. Old butter, yogurt, or tuna fish cans work well.
A couple of student grade round and flat watercolor brushes, if you don’t already have watercolor brushes.
Supplies that may be helpful:
A pad of watercolor paper, if you know specifically what kind of paper you like. The instructor will be providing paper.
An apron
Cotton swabs
Notebook for taking notes
Pen/pencil
Scissors
Paper towel
W3 | The Poetics of Painting
Sundays - Meets 2 times
Explore the poetics and magic of painting. Drawing on her acclaimed career as a painter and teacher, Abbey will begin the workshop by discussing how to select painting subjects, concepts and content in still life painting, poetic realism, and strategies to begin and finish a painting in one sitting. Demonstrations and one-on-one instruction will reveal a variety of techniques and methods that address subtleties of color mixing, lighting, and materials. Gain mentoring and valuable insight with specific, actionable and inspiring tips tailored to help each student move forward on their painting journey. In addition, students will gain ideas around blogging, galleries, social media, marketing.
#1: Bring still life items you like: fruit, flowers, pottery, fabric backdrops, etc.
Oil Paint
Here is what is on Abbey’s palette:
Alizarin crimson
Cadmium red deep
Cadmium red light
Cadmium yellow deep
Cadmium yellow light
Cadmium yellow lemon
Ultramarine blue
Phthalo turquoise, green shade
Burnt Sienna
Ivory black
Titanium white
Vasari Oil Colors in NYC offers a full-set of Abbey’s palette colors for a discount; to request it, email info@vasaricolors.com or call (800) 932-9375 or (212)-947-1858 and ask for Steve or Gail to request the “Abbey Ryan” palette. Abbey recommends Vasari oil colors because they are richly pigmented and pure, and worth the investment. Vasari paints are more expensive than other brands (e.g. Cadmium colors are $51 for 40 mL tube); substitute Williamsburg or Old Holland, if necessary.
Brushes
Good brushes make all the difference. More specifically, be sure that brushes are in good shape, pliable, and not stiff with old paint. Abbey uses Robert Simmons Titanium round and/or Silver Grand Prix natural bristle filbert. Sizes range from #5, 6, 8, 10.
Painting Surfaces
Bring a variety of canvas/panel sizes to accommodate your needs, and varied sizes to accommodate different compositional ideas. For daily painting, Abbey often paints on small panels in the range of 5x6 in. and 6x8 in. Abbey recommends double primed linen mounted on panels by RayMar (http://raymarart.com/) and InnerGlow wood painting panels (http://billewing.com/innerglow-paint-panels/).
IMPORTANT: Abbey discusses panel preparation in the workshop, but painting surfaces should be toned ahead of time with a neutral ground (either burnt sienna alone OR burnt umber & ultramarine blue). The tone should be a medium value: mix the toning color(s) with a bit of Odorless Turpenoid, apply to surface with a brush, wait a few minutes, and use a paper towel to wipe off excess paint and even out the tone and values. Visit (http://abbeyryan.com/workshops/preparing/) for Abbey’s painting canvas prep visual guide.
Painting Medium
Abbey uses 2 painting mediums while painting, stored in two small, lidded oil cups next to her palette (e.g. Martin Universal Design Museum Double Palette Cup).
1. Stand oil – Gamblin or Zecchi’s from Italy. (Synthetic Alternate: Gamblin NeoMegilp) AND
2. Abbey’s own medium mixture – Mix Gamblin’s stand oil with Odorless Turpenoid in a small jar with lid: 1 part Turpenoid to 1.5 part stand oil (give or take a bit). Shake vigorously so that Turpenoid and stand oil mixture emulsifies. Medium should be the consistency of thick maple syrup. Abbey will discuss this process. Store and transport in a small jar with lid. (Alternate: Old Masters Maroger (http://oldmastersmaroger.com/))
During the workshop, ALL Painting Mediums must be stored in lidded containers/jars at all times. No exceptions.
Palette
A glass palette is best (tape edges with duct tape). Affix a piece of cardboard or medium-value paper on the back to give it a medium-value backing. Plexiglas palettes are okay. If you use a Plexiglas palette, peel off the plastic covering with writing. IMPORTANT: White palettes make judging value difficult. Please try not to use paper disposable palettes.
Painting knife (if you need it for mixing colors)
The inverted handle elongated knife is best, with a pliable point not encrusted with paint. Recommended from Zecchi’s in Italy (http://zecchi.it/) or NY Central Supply, NYC (http://nycentralart.com/).
Single edge flat razor blade scraper
To clean your palette; this should also not be encrusted with paint.
Weber’s Odorless Turpenoid (Alternate: Gamblin’s Gamsol)
Do not bring Turpentine or Odorless Mineral Spirits. Store and transport in a small jar with lid. IMPORTANT: bring one similar extra empty jar and Abbey will discuss use for cleaning brushes. Cleaned out jelly jars work well. During the workshop, ALL Solvents must be contained in lidded containers/jars at all times. No exceptions.
Other items • VIVA! Paper towels OR lint-free rags • Apron • The Masters Brush Cleaner & Preserver (to clean brushes/hands) • Clean pizza or Shirt boxes to flat-transport wet paintings
2C | Drawing and Painting I and II
All levels are welcome whether you paint or draw. Beginners will be taught how to “see” and not just look. Questions like “Where do I start?” will be answered. You will learn what makes an interesting composition, how to shade and how to give your pictures character and depth. Simple set-ups will be brought in by the instructor. Beginning painters will learn color theory and mixing, how to handle paint, composition and basic techniques.
More advanced students will continue to hone their skills through a combination of painting from real life as well as the classic method of artistic learning: copying other artists work including painters and photographers. Demonstrations and individual instruction will be given to each student. You will progress at your own pace in a relaxed atmosphere.
If you are drawing, please bring the following supplies the first day of class:
12” x 16” drawing pad (approximate Size) NOT Newsprint
4 pencils: 2B, 4B, 6B, HB
Kneaded eraser
For Painting:
Disposable palette pad
Canvas pad (approximately 12 x 15”), OR two small canvases: Make sure the canvas pad says " REAL " canvas
Paper Towels (Bounty is good)
1 Can (for water or turpenoid)
1 Can turpenoid only. NOT Turpentine.
Brushes – sizes 4, 6, 8 to begin
Oil Paint Colors: White, Black, Cadmium Red Light, Cadmium Yellow, French Ultramarine Blue, Raw Umber, Yellow Ochre, Alizarin Crimson, Burnt Sienna, Permanent Rose.
1B | Studio Oil Painting
In this class, students can use a variety of sources i.e; still life, photographs or landscape to organize and create a painting. Designed to help students execute a painting of their own subject matter, the class focuses on composition, perspective, color mixing, and painting techniques. Students may devote the entire session to one piece or work on multiple pieces. Individual instruction is given during each session.
Materials List:
Oil Colors:
Yellow: cadmium yellow pale or indian yellow
Blue: cerulean blue, ultramarine
Red: cadmium red light, alizarin crimson
Green: sap green, viridian
Earth: raw umber, burnt sienna, yellow ochre or transparent yellow oxide
White: titanium
Brushes: flat brushes in a variety of sizes; make sure you include a few soft, synthetic or sable, a few rounds and at least one 2" or larger soft, flat brush for glazing. Make sure these are not watercolor brushes.
Palette knife - flexible, cranked shaft at least 3in long.
Palette, wood or paper (toned gray paper is preferable)
Linseed oil
Turpenoid or odorless paint thinner - NOT TURPENOID NATURAL!
Containers for linseed oil and turpenoid
Stretched canvas or gessoed panel
Paper towels and painting rags
If using photos for source material, Students must provide their own photos.
2D | Drawing and Painting I and II
All levels are welcome whether you paint or draw. Beginners will be taught how to “see” and not just look. Questions like “Where do I start?” will be answered. You will learn what makes an interesting composition, how to shade and how to give your pictures character and depth. Simple set-ups will be brought in by the instructor. Beginning painters will learn color theory and mixing, how to handle paint, composition and basic techniques.
More advanced students will continue to hone their skills through a combination of painting from real life as well as the classic method of artistic learning: copying other artists work including painters and photographers. Demonstrations and individual instruction will be given to each student. You will progress at your own pace in a relaxed atmosphere.
If you are drawing, please bring the following supplies the first day of class:
12” x 16” drawing pad (approximate Size) NOT Newsprint
4 pencils: 2B, 4B, 6B, HB
Kneaded eraser
For Painting:
Disposable palette pad
Canvas pad (approximately 12 x 15”), OR two small canvases: Make sure the canvas pad says " REAL " canvas
Paper Towels (Bounty is good)
1 Can (for water or turpenoid)
1 Can turpenoid only. NOT Turpentine.
Brushes – sizes 4, 6, 8 to begin
Oil Paint Colors: White, Black, Cadmium Red Light, Cadmium Yellow, French Ultramarine Blue, Raw Umber, Yellow Ochre, Alizarin Crimson, Burnt Sienna, Permanent Rose.
3B | Introduction to Oil Painting and Beyond
This class is for students who want to learn the basics of oil painting and for those who are already familiar with the medium and want to improve their skill level. The topics covered will be composing a picture, observing color relationships, mixing color, and application of paint. There will be lots of hands-on help in a relaxed and nurturing environment.
Materials List:
Oil Colors:
Yellow: cadmium yellow pale or indian yellow
Blue: cerulean blue, ultramarine
Red: cadmium red light, alizarin crimson
Green: sap green, viridian
Earth: raw umber, burnt sienna, yellow ochre or transparent yellow oxide
White: titanium
Brushes: flat brushes in a variety of sizes; make sure you include a few soft, synthetic or sable, a few rounds and at least one 2" or larger soft, flat brush for glazing. Make sure these are not watercolor brushes.
Palette knife - flexible, cranked shaft at least 3in long.
Palette, wood or paper (toned gray paper is preferable)
Linseed oil
Turpenoid or odorless paint thinner - NOT TURPENOID NATURAL!
Containers for linseed oil and turpenoid
Stretched canvas or gessoed panel
Paper towels and painting rags
If using photos for source material, Students must provide their own photos.
4B | Exploring Abstraction
Pastels:
Assorted soft pastels - instructor prefers schmeinke and sennelier, however, it is up to the student to choose. Rembrandt are moderately priced and are good for beginners
Paper – instructor prefers Arches 140lb. cold pressed
Old toothbrush
Acrylics and Oils
Painting surface – student’s choice –canvas, board, metal, paper
Paints
Palette – paper, glass, plexi, paper plate, etc.
Brushes, palette knife, and any other implements of student’s choice
Painting Mediums – for acrylics, instructor prefers Acrylic Glazing Liquid by Golden; for oils, instructor prefers Windsor Newton Painting Medium; any others can be added depending on desired effec
5A | Color Matters
Explore your love of color! Discover how color can be used strategically to create fluid harmonies, dramatic contrasts, nuances of light and shadow, and atmosphere and mood. Learn different paint applications and techniques to develop a personal language of color expression. Lots of individual attention, demonstrations, and guidance.
- Acrylic paint preferred but oil is okay
- Any colors in addition to black, white, and the primary colors: red, blue and yellow
- Acrylic matte medium and gloss medium; OR turpenoid and linseed oil for oil painters
- Brushes - various sizes (a selection of small, medium and large), round and flat
- Also sponges or rags for applying colors
- Canvas (bigger is better), primed or unprimed, stretched or unstretched. Or paper.
- Palette
- Palette and painting knives
- Jars or plastic containers for mixing and saving paints
- Rags for cleaning
- Charcoal, graphite pencil
- Water spray bottle
- Blue painter's tape
- A lot of enthusiasm
5B | Color Matters
Explore your love of color! Discover how color can be used strategically to create fluid harmonies, dramatic contrasts, nuances of light and shadow, and atmosphere and mood. Learn different paint applications and techniques to develop a personal language of color expression. Lots of individual attention, demonstrations, and guidance.
- Acrylic paint preferred but oil is okay
- Any colors in addition to black, white, and the primary colors: red, blue and yellow
- Acrylic matte medium and gloss medium; OR turpenoid and linseed oil for oil painters
- Brushes - various sizes (a selection of small, medium and large), round and flat
- Also sponges or rags for applying colors
- Canvas (bigger is better), primed or unprimed, stretched or unstretched. Or paper.
- Palette
- Palette and painting knives
- Jars or plastic containers for mixing and saving paints
- Rags for cleaning
- Charcoal, graphite pencil
- Water spray bottle
- Blue painter's tape
- A lot of enthusiasm
6A | One a Day: Creating a Still Life in One Sitting
Students paint a new still life in each session of this class. This alla prima method of painting a picture is a wonderful way for students to learn to be more decisive and relaxed in their painting. Individual attention is given, guiding each student to make efficient decisions about developing the painting. Students learn about color relationships, compositional choices, and capturing light and shadow.
Oil Paints
Ivory Black
Indian Red
Yellow Ochre
Cadmium Red Light
Burnt Sienna
Ultramarine Blue
Flake White
Medium:
Windsor and Newton’s Liquin
Mineral Spirits (for washing brushes)
Brushes:
Bristle brushes round or filbert: sizes 2, 4, 6, 8, 10
A few small sables or artificial sables
Palette:
Wooden or strip (paper) palette
Canvases:
2 or 3 canvases (board or stretched)
sizes 11 x 14”, 16 x 20”, or 18 x 24”
Misc.
2 palette cups
paper towels or cotton rags
Optional:
Sketch pad
6B | One a Day: Creating a Still Life in One Sitting
Students paint a new still life in each session of this class. This alla prima method of painting a picture is a wonderful way for students to learn to be more decisive and relaxed in their painting. Individual attention is given, guiding each student to make efficient decisions about developing the painting. Students learn about color relationships, compositional choices, and capturing light and shadow.
Oil Paints
Ivory Black
Indian Red
Yellow Ochre
Cadmium Red Light
Burnt Sienna
Ultramarine Blue
Flake White
Medium:
Windsor and Newton’s Liquin
Mineral Spirits (for washing brushes)
Brushes:
Bristle brushes round or filbert: sizes 2, 4, 6, 8, 10
A few small sables or artificial sables
Palette:
Wooden or strip (paper) palette
Canvases:
2 or 3 canvases (board or stretched)
sizes 11 x 14”, 16 x 20”, or 18 x 24”
Misc.
2 palette cups
paper towels or cotton rags
Optional:
Sketch pad
7 | Painting with Monotypes
Discover the endless possibilities and unique qualities of the monotype process, an image that combines painting, drawing, and printmaking techniques. It was a favorite way of making art for Edgar Degas, Mary Cassatt, and Gauguin as it offers a spontaneous way of working and the freedom to explore and experiment with images and a wide selection of materials. A painting is developed on a flat plate with oil or water based inks, paints, crayons, and/or pencils and then transferred to paper or other absorbent surfaces. We will explore painting by hand and with an etching press. The instructor will provide oil and water based inks, plates and paper.
Please bring ideas for the images you want to make. E.g.
- Sketch book
- Photographs
Oil inks, water-soluble crayons, plates, barrens for hand printing, artist tape, a 15 X 28” etching press, clean up and other miscellaneous supplies will be provided by instructor.
* I’ll bring some samples of different printmaking papers you can try. E.g. Domestic Etch, Kitakata, Copper Plate, Rives BFK
Full sheets will be available to purchase from the instructor.
Supplies you should bring:
A pad of newsprint. 12X18” works well.
Notebook for taking notes
Pencil
Ruler
Other Supplies you may be want to bring:
Any rollers you already have. The instructor will provide some rollers.
An apron
Paintbrushes
Watercolor paint if you want to work in water based paintings
Oil paint if you already have it.
Cotton swabs
Exacto knife
Pen/pencil
Scissors
8 | Botanical Watercolor
Learn how to capture the variety of shapes, colors and forms of plants and flowers. Students will sharpen their observational skills while learning to design a composition. The free flow of watercolor adds color and self-expression. Demonstrations will be given.
Botanical Illustration Supply List
Drawing paper to begin: 9” x 12” drawing pad (approximate Size) is good
Watercolor paper for a longer painting, either 8x10 or 11x14 in size
Pencils for drawing: 2B, 4B, 6B, HB
Erasers: kneaded are great
Watercolor pencils and a watercolor set
Fine watercolor brushes (it is great to have a few very fine and medium brushes)
9A | Watercolor and Design
This class teaches students to develop a variety of motifs such as rural, shore, and city landscapes and still life subjects by working from the instructor’s photographs as well as their own. Students learn to design a successful composition and then apply the watercolor media in a successful, expressive manner. Demonstrations and class critiques are included.
PAPER: 140 lb. Arches Watercolor Paper, cold press (old standby)
300 lb. Arches Watercolor Paper, cold press (old standby)
140 lb. BFK Rives Watercolor Paper, cold press (nice off white paper)
140 lb. or 300 lb. Lana Watercolor Paper, cold press (softer off white paper)
BRUSHES: There are many “great” to “good” watercolor brushes. The best is the Pure Kolinsky Sable brushes. I use several different sizes, #6, #8, #10, and #12. Cost a little more but well worth the price.
A very nice less expensive brush is the Connoisseur series, clear handle, series 007. They come in a round and flat type.
We all need a fine larger flat brush for that special wash. I recommend the Robert Simmons 278w, made in the USA. Another good flat wash brush is the Robert Simmons, 3” P278W, made in the USA.
Winsor & Newton also makes a nice series of flat brushes. You should investigate and own a least one ¼” -1/2” – ¾” – 1” Sceptre.Series 606.
WATERCOLORS: Many, many companies make great watercolor paints. I use a mixture of brands, depending on the color. Winsor & Newton, Grumbacker, Talens, Schmincke, Cottman and Holbein are good choices.
Each artist chooses their own colors depending on their approach to their individual painting styles. You may add or delete from this list.
Alizarin Crimson
Burnt Siena
Chrome Orange
Hookers Green
Lamp Black
Mauve
Naples Yellow
Payne’s Grey
Permanent Blue
Sap Green
Sepia
Yellow Ochre
Cerulean Blue
Cobalt Blue
Winsor Red
Lemon Yellow
9B | Watercolor and Design
This class teaches students to develop a variety of motifs such as rural, shore, and city landscapes and still life subjects by working from the instructor’s photographs as well as their own. Students learn to design a successful composition and then apply the watercolor media in a successful, expressive manner. Demonstrations and class critiques are included.
PAPER:
140 lb. Arches Watercolor Paper, cold press (old standby)
300 lb. Arches Watercolor Paper, cold press (old standby)
140 lb. BFK Rives Watercolor Paper, cold press (nice off white paper)
140 lb. or 300 lb. Lana Watercolor Paper, cold press (softer off white paper)
BRUSHES: There are many “great” to “good” watercolor brushes. The best is the Pure Kolinsky Sable brushes. I use several different sizes, #6, #8, #10, and #12. Cost a little more but well worth the price.
A very nice less expensive brush is the Connoisseur series, clear handle, series 007. They come in a round and flat type.
We all need a fine larger flat brush for that special wash. I recommend the Robert Simmons 278w, made in the USA. Another good flat wash brush is the Robert Simmons, 3” P278W, made in the USA.
Winsor & Newton also makes a nice series of flat brushes. You should investigate and own a least one ¼” -1/2” – ¾” – 1” Sceptre.Series 606.
WATERCOLORS: Many, many companies make great watercolor paints. I use a mixture of brands, depending on the color. Winsor & Newton, Grumbacker, Talens, Schmincke, Cottman and Holbein are good choices.
Each artist chooses their own colors depending on their approach to their individual painting styles. You may add or delete from this list.
- Alizarin Crimson
- Burnt Siena
- Chrome Orange
- Hookers Green
- Lamp Black
- Mauve
- Naples Yellow
- Payne’s Grey
- Permanent Blue
- Sap Green
- Sepia
- Yellow Ochre
- Cerulean Blue
- Cobalt Blue
- Winsor Red
- Lemon Yellow
10A | Painting Over the Line
Explore lively brushwork, color layering, focal points, and balance between calm and busy. Discover how to work around imperfections and accidents and view them as opportunities. Work from imagination, pictures, or other means to find your voice and visual language. Individual support and examples from contemporary artists will serve to broaden and inform your understanding of innovative painting.
- Acrylic paint preferred but oil is okay
- Any colors in addition to black, white, and the primary colors: red, blue and yellow
- Acrylic matte medium and gloss medium; OR turpenoid and linseed oil for oil painters
- Brushes - various sizes (a selection of small, medium and large), round and flat
- Also sponges or rags for applying colors
- Canvas (bigger is better), primed or unprimed, stretched or unstretched. Or paper.
- Palette
- Palette and painting knives
- Jars or plastic containers for mixing and saving paints
- Rags for cleaning
- Charcoal, graphite pencil
- Water spray bottle
- Blue painter's tape
- A lot of enthusiasm
10B | Painting Over the Line
Explore lively brushwork, color layering, focal points, and balance between calm and busy. Discover how to work around imperfections and accidents and view them as opportunities. Work from imagination, pictures, or other means to find your voice and visual language. Individual support and examples from contemporary artists will serve to broaden and inform your understanding of innovative painting.
- Acrylic paint preferred but oil is okay
- Any colors in addition to black, white, and the primary colors: red, blue and yellow
- Acrylic matte medium and gloss medium; OR turpenoid and linseed oil for oil painters
- Brushes - various sizes (a selection of small, medium and large), round and flat
- Also sponges or rags for applying colors
- Canvas (bigger is better), primed or unprimed, stretched or unstretched. Or paper.
- Palette
- Palette and painting knives
- Jars or plastic containers for mixing and saving paints
- Rags for cleaning
- Charcoal, graphite pencil
- Water spray bottle
- Blue painter's tape
- A lot of enthusiasm
11A | Introduction to Portrait Painting
This class is for those who have always wanted to paint portraits but have been afraid to try as well as those who want to improve their skills. Students will learn how to get a likeness every time by focusing on head structure rather than accumulating detail. The emphasis of this class is learning to see color more sensitively when looking at the model and mixing color more confidently when painting a portrait. Demonstrations in both drawing and painting will be given. Students will receive individual attention.
Oil Paints
Ivory Black
Indian Red
Yellow Ochre
Cadmium Red Light
Burnt Sienna
Ultramarine Blue
Flake White
Medium:
Windsor and Newton’s Liquin
Mineral Spirits (for washing brushes)
Brushes:
Bristle brushes round or filbert: sizes 2, 4, 6, 8, 10
A few small sables or artificial sables
Palette:
Wooden or strip (paper) palette
Canvases:
2 or 3 canvases (board or stretched)
sizes 11 x 14”, 16 x 20”, or 18 x 24”
Misc.
2 palette cups
paper towels or cotton rags
Other:
Sketch pad
Drawing pencils
11B | Introduction to Portrait Painting
This class is for those who have always wanted to paint portraits but have been afraid to try as well as those who want to improve their skills. Students will learn how to get a likeness every time by focusing on head structure rather than accumulating detail. The emphasis of this class is learning to see color more sensitively when looking at the model and mixing color more confidently when painting a portrait. Demonstrations in both drawing and painting will be given. Students will receive individual attention.
Oil Paints
Ivory Black
Indian Red
Yellow Ochre
Cadmium Red Light
Burnt Sienna
Ultramarine Blue
Flake White
Medium:
Windsor and Newton’s Liquin
Mineral Spirits (for washing brushes)
Brushes:
Bristle brushes round or filbert: sizes 2, 4, 6, 8, 10
A few small sables or artificial sables
Palette:
Wooden or strip (paper) palette
Canvases:
2 or 3 canvases (board or stretched)
sizes 11 x 14”, 16 x 20”, or 18 x 24”
Misc.
2 palette cups
paper towels or cotton rags
Other:
Sketch pad
Drawing pencils
12A | Introduction to Figure Painting
Painting the nude human figure is the classic art school experience! By learning to paint the figure, students gain an understanding of how to look and explore natural forms, and deepen their insight and knowledge for all ways of painting including abstraction. The emphasis in this class is on learning fundamentals of proportion, gesture and color harmony. Demonstrations will be given. This class is for students of all levels including those who have never painted the figure.
Oil Paints
Ivory Black
Indian Red
Yellow Ochre
Cadmium Red Light
Burnt Sienna
Ultramarine Blue
Flake White
Medium:
Windsor and Newton’s Liquin
Mineral Spirits (for washing brushes)
Brushes:
Bristle brushes round or filbert: sizes 2, 4, 6, 8, 10
A few small sables or artificial sables
Palette:
Wooden or strip (paper) palette
Canvases:
2 or 3 canvases (board or stretched)
sizes 11 x 14”, 16 x 20”, or 18 x 24”
Misc.
2 palette cups
paper towels or cotton rags
Other:
Sketch pad
Drawing pencils
12B | Introduction to Figure Painting
Painting the nude human figure is the classic art school experience! By learning to paint the figure, students gain an understanding of how to look and explore natural forms, and deepen their insight and knowledge for all ways of painting including abstraction. The emphasis in this class is on learning fundamentals of proportion, gesture and color harmony. Demonstrations will be given. This class is for students of all levels including those who have never painted the figure.
Oil Paints
Ivory Black
Indian Red
Yellow Ochre
Cadmium Red Light
Burnt Sienna
Ultramarine Blue
Flake White
Medium:
Windsor and Newton’s Liquin
Mineral Spirits (for washing brushes)
Brushes:
Bristle brushes round or filbert: sizes 2, 4, 6, 8, 10
A few small sables or artificial sables
Palette:
Wooden or strip (paper) palette
Canvases:
2 or 3 canvases (board or stretched)
sizes 11 x 14”, 16 x 20”, or 18 x 24”
Misc.
2 palette cups
paper towels or cotton rags
Other:
Sketch pad
Drawing pencils