ART OF THE MASTERS Workshop

Hello, Artists,

gilbertsunnewsarticle6-2016

We are planning a workshop the week of November 14, 2016, which is our only opportunity window for quite a few months. Can you make it? We will also have a Free Prep Day on November 7, a week before the workshop, in order to help you get a wonderful start. The cost for the 5 days is $489.

Art of the Masters Workshop
When: Nov. 14-18, 2016
Where:  Gilbert, Arizona
Time: daily, 9:00 – 5:00

If you feel undecided, maybe now is the time to get off that fence and embrace your true art self. We promise that you will get more step-by-step art instruction in one week with us, than you will get anywhere else, even in workshops that cost more than twice what we charge. We also give you helpful handouts (most art classes don’t) because we want you to be able to remember and continue working on what we’ve taught you. To us, the most important thing is continuing the legacy of the Old Masters, and we are passionate about passing on their wisdom and techniques to others. We would love to have you with us!

And like Maestro Frank Covino always did, we offer $100 off the cost of your tuition for each of your friends that sign up for the class.

Below is a sample of first-time student drawing (24″ x 30″), in preparation for painting.  Amazing, huh!

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Here are things needed for the Free Prep Day:

Materials for board preparation, graphing, and drawing:
Ampersand Gessobord brand surface
metal yardstick and ruler
ultra-fine Sharpies, various colors (black, blue, and red are probably enough)
General’s charcoal pencils, soft
kneaded eraser
High quality photo of Old Master painting to work from, printed on 8 1/2”x11” glossy photo paper, one grayscale, one color–Art Renewal Center is an excellent online museum source– https://artrenewal.org/pages/search.php
blending stumps (tortillions)
Exacto knife
spray workable fixative
clear tape
acetate

Other helpful items:
transparent 18” triangle
India ink and sable liner brush
artist’s white tape, removable

Please respond below, and we’ll get right back to you!

Marsha and Karen
Art of the Masters

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ART OF THE MASTERS Workshop Wonders!

Hello, Artists,

We thought you might want to see some of the work just completed at our first Art of the Masters workshop last week in Gilbert, Arizona.  Karen and I were so proud of our students’ success thus far.  Here are some pictures:

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Shelly H.  in early stages of drawing At the Fountain, after William-Adolphe Bouguereau, 1897

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Shelley B. drawing The Laundress, after Jean-Baptiste Greuze, 1761

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Teachers Marsha Gilliam (in the mirror) and Karen Schmeiser, with student Shelly H.

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Completed charcoal drawing~

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Completed drawing with partial verdaccio underpainting~

Below are the students’ drawings alongside actual paintings by Greuze and Bouguereau.  When completed, students’ works will look like these original works, and Shelley and Shelly will have learned much about seeing, drawing and painting during this process of copying the Masters:

P1110792GreuzeTheLaundress1761

P1110788BouguereauAtTheFountain1897

We hope you enjoyed seeing some student work, and hope you will be able to join us for our next event.  Where else can new artists get a five-day workshop with two teachers for $489?  We are in this to perpetuate the systems and processes of the Old Masters, and are planning another workshop in the fall, to be announced.

YOU CAN CAN CAN do this too,

Marsha and Karen 🙂

ART OF THE MASTERS WORKSHOP

ANNOUNCEMENTArt of the Masters classical oil painting workshop, plus free additional day.

Karen Schmeiser and I are carrying on Maestro Frank Covino’s legacy by teaching workshops here in the Phoenix Metro. It was an important decision for us, and since each of us have studied with Frank for over twelve years and we both love teaching, we honor his memory by doing our part to assure that these Old Master techniques do not get lost.

  • Learn to paint like the Old Masters.
  • Receive the expertise of two instructors (Marsha Gilliam and Karen Schmeiser) as you learn the methods of the Old Masters in a 5-day workshop, June 27-July 1, 2016 Open to artists of all levels.  Get more instruction for your money.
  • Cost: $489.  If you check the prices of art workshops these days, you will find they cost nearly twice as much.  A supply list will be provided upon registration.
  • Also included at no extra charge is a free preparation day on June 20, 2016, to help you properly begin your drawing on your painting panel.

YOU can do this! The three most important things to bring with you are your patience, your determination, and an accepting mind.  Here are examples of what you can expect to achieve:

First painting by Karen Schmeiser:

KarenTheShepherdessBouguereau

Copy of The Shepherdess, 1866, after Johann Baptist Hofner

First painting by Marsha Gilliam:

MVC-004F

Copy of Girl with a Pearl Earring, 1665, after Johannes Vermeer

The author and associate editor of the East Valley Tribune, Srianthi Perera, recently published this article about our upcoming workshop, and there is also an article about it just released in The Gilbert Sun News  https://issuu.com/timespub/docs/gsn_june_2016_issue:

MarshaNewspaperArticleEastValleyTribune5-29-16

We hope you will join us–it was a life-changing experience for us, and we hope it will be for you, too.

Sincerely,

Marsha and Karen

PAINTING WORKSHOP IS COMING UP

Hello, Artists~~

The author and associate editor of the East Valley Tribune, Srianthi Perera, just published an eloquent article today about our upcoming workshop.  Karen and I wanted to share it with you:

MarshaNewspaperArticleEastValleyTribune5-29-16

  • Learn to paint like the Old Masters.
  • Receive the expertise of two instructors (Marsha Gilliam and Karen Schmeiser) as you learn the methods of the Old Masters in a 5-day workshop, June 27-July 1, 2016.  Open to artists of all levels.  Get more instruction for your money.
  • Cost: $489.  If you check the prices of art workshops these days, you will find they cost nearly twice as much.

YOU can do this too,

Marsha and Karen

WE’RE STARTING TO TEACH WORKSHOPS–ALL LEVELS ARE WELCOME

ANNOUNCEMENTArt of the Masters oil painting workshop and Open House!!!

  • Learn to paint like the Old Masters.
  • Receive the expertise of two instructors (Marsha Gilliam and Karen Schmeiser) as you learn the methods of the Old Masters in a 5-day workshop, June 27-July 1, 2016.  Open to artists of all levels.  Get more instruction for your money.
  • Interested students are invited to an Open House, May 31, 7:00-8:00 p.m., where you will sign up for the upcoming workshop, receive needed info, and actually see painted models of what you will be creating. Light refreshments will be served.
  • Please RSVP for the Open House (see contact form below).

The three most important things to bring with you are your patience, your determination, and an accepting mind.

Karen Schmeiser and I have decided to carry on Frank Covino’s legacy by teaching workshops here in the Phoenix Metro. It was a big decision for us , but we feel that, since each of us have studied with Frank for over twelve years and we both love teaching, we owe it to him to assure that these Old Master techniques do not get lost.  Here is an example of what you can expect to achieve:

First painting by Karen Schmeiser:

KarenTheShepherdessBouguereau

First painting by Marsha Gilliam:

MVC-004F

YOU can do this too!

All the best to you,

Marsha

PART 6, CLASSICAL ACADEMIC APPROACH, CHARCOAL DRAWING AND INDIA INK

Kind Readers,

My sincerest apologies for the extended hiatus since my last post. There has been a long illness in my family that required my full attention, but gratefully, the outcome was positive. Thanks to some dear art friends inspiring me today to start posting again, I am doing this one especially for them. I’ll try to make it up to you all in this post by adding additional pictures of the process for you to at least see where we’re going. I’ll comment on them as needed in later posts. Feel free to posit your questions or comments as well.

A few more points to make about handling the marble gesso before we go on with the process~~Remember that you must smooth the edges of each successive application of gesso either with your finger while it’s wet, or with  sandpaper (about 100 grit) after it’s dry.  It is easiest to do it with your finger, followed by the sandpaper only if necessary.  Some illuminated areas you may want to sculpt, in addition to those mentioned in Part 5, are clothing (especially folds) , the nose bridge and tip, the forehead, the forward shoulder, the forward knee, and the part of the lower lip in the light.

At this stage, remove the gridded acetate cartoon, and render a complete charcoal study by referring to the grayscale printout of the artwork reference. It’s best to start with the easiest squares or triangles, piece by piece, then progress to the others as you gain more confidence.  Use a tortillion to really blend and push the charcoal into the gessoed surface.  You can always lay the grid back on to check your drawing if you lose your place or make a mistake.  Repair mistakes on your drawing with a kneaded eraser, or scrape it carefully with an exacto knife or single-edged razor blade.  Periodically, take the drawing outside and spray it with fixative as you progress and are sure it’s correct.  As you continue with the rendering, keep asking yourself, “What value is it on my reference?”  Then place that value on your surface.  If the values are right, it will look like the form when you’re finished.

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When your drawing is complete, take it outside with a final coat of fixative, sprayed rather liberally. Be careful with this stuff–it’s toxic (see the label).  The photo below shows the wet fixative reflecting on the lens.  At this point, put the fixative away.  It will not be used again for the duration of this painting and, for the sake of archivability, you do not want to accidentally mix it up with the retouch varnish.

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As far as India ink is concerned, inking can be done at any stage of the drawing.  I personally like to do it after I have applied the gesso or gelatin and have refined my cartoon into a full-value detailed charcoal drawing.  Use a very fine brush and keep some water handy.  It’s very difficult to remove dried India ink, and it dries very quickly.  Or, if you prefer, you can use the greyscale prefilled Faber-Castell Pitt brand India ink brush pens.

For example, in the charcoal drawing above, I have inked the entire background, the edge of the upper eyelid, the edge of the iris, the deepest recesses of the nose hole, the crease of the eyelid, and the pupils of the eye.  Ink only the areas that are either black, or value 1.

Regarding the pupils, always make sure that the one farthest from the viewer is slightly lighter than the closest one.  Even though the naked eye cannot really see this difference, you must nevertheless paint with aerial perspective rules in mind, whether it’s visible in the photo or not.  Aerial perspective rules say that dark-valued objects become lighter and grayer in recession.  Thus, the pupil farthest from the viewer will be ever-so-slightly lighter.  The converse rule is that light-valued objects appear darker and grayer in recession.  Keep these rules in mind with any painting because you cannot trust what you see in the photograph.

Some other areas to consider inking are the center edge of the lower lip, where the lower lid touches the iris, and the very thin line between the lips.

When inking, refer to the grayscale printout of the Old Master artwork you are duplicating.  Ask yourself, “Where are the black areas located on this painting?”  As you identify them, no matter how small, that’s where you put ink.  Ink everything that is receiving no light.  Forget what object you are painting and just look for values, remembering to refer to the photo and not your acetate sketch.

Remember that any mistakes made with the ink must be ameliorated–you cannot just cover them with paint.  Why?  Because over time, oil paint becomes translucent and your mistakes will begin to show through.  The Italians call this “pentimenti,” meaning “the emergence of earlier mistakes that have been painted over.”  Take a look at Velázquez’s horse that now has five legs.

Velázquez_-_Felipe_IV_(Museo_del_Prado,_1634-35)

Here are additional steps in the process:

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This is the completed verdaccio underpainting, ready for color:

PaintingProcessStep13

All the best,

Marsha

P. S.  Just a note to let you know of an upcoming workshop

Hello, readers. The Arizona Renaissance Art Guild is hosting a one-week workshop with Maestro Frank Covino, art teacher extraordinaire. If you will be in the Phoenix area on April 6-10, 2015, we would like to invite you to attend and make some new painting friends.  The cost for the week is $695.  Respond to this post if you are interested.  We still have two spaces available.

PART 5, CLASSICAL ACADEMIC APPROACH, MARBLE GESSO

Did you complete your cartoon transfer yet? (See Part 4)  Keep in mind that working from a photo is not a lifetime sentence–it is a great beginning and learning tool, becoming simply reference material later on as you gain skill and begin to build a morgue of artist references.

At this stage, you should have transferred what is in each acetate grid section, box by box, triangle by triangle, to each identical grid section of your painting panel.  If you begin to think about your drawing as specific objects, turn the panel and acetate upside down and continue.  This way, it helps you to stay in the abstract and be more objective.

PaintingProcessStep2

Are the acetate and panel drawings exactly the same?  When the acetate tracing and the panel look exactly identical, you can either erase most of your grid lines, or just leave them in case you need refer to them later at some point during the charcoal drawing and underpainting.  I usually just leave them.  If your drawing has been accurately reproduced, spray it with fixative so it won’t disappear on you.  Remember that the Old Masters taught and used this same grid method to execute extremely accurate drawings, so you are in the best of company.

Now, it’s time to move on to the marble dust gesso and gelatin padding, and inking of the drawing.  Your surface should look sculpted when complete, but only to the degree of the Golden Mean.  In other words, you should aim for about thirty-three percent or less, or sixty-six percent or more of your surface area “sculpted,” but never 50-50.  Of course, this will generally be applied in areas throughout, so you will have to guess the aggregate amount.  Also, make sure you emphasize the illuminated, higher-value areas only, areas you want to advance.  The lighter the area, the more gesso or gelatin you can add.  Darker-valued areas should remain smooth and recessional.

If you plan to add any gesso or gelatin for textures, do it now during the drawing/charcoal/inking stage. Remember that the process of sculpturing your work with the marbled gesso is completely optional.  I don’t do it for every painting, but whenever I do, I never regret having the additional dimension that oil paint alone can simply not provide.

Here is an example of Rubens’ Roman charity painting, “Cimon and Pero,” where I extensively padded on the marble dust gesso to varying degrees on the man’s muscles in the light.  You can see why it is so important to study your anatomy and know the shapes of the musculature.  On the daughter, I added extra gesso to the face, breast, forward arm and hand, and on the dress folds, only on areas of light and those nearest the viewer.  Gelatin was added to stone areas only.  It is finely granulated, totally permanent and used just as it is, right out of the box.  It can be used in gesso or mixed directly in the paint, and creates a more crude surface–perfect for things like rocks, stone and bark:

Colony Website Pics1 020

If you zoom it on your computer, you can actually see where I have added marble gesso (those areas appear whiter) on this painting in progress of Titian‘s “Venus at her Toilet.”   I have built up gesso on the pearls, hair, face, the sternocleidomastoid, the breasts, abdomen, hip, arms, hands, jewelry, the angel and wings, and spent a great deal of time on the tiny trimwork of her wrap.  It’s an amazing tactile experience to literally feel the shapes as you run your hand over the painting and yes, it takes time, but it is so much worth the effort:

TitianVenus

Remember that not just any old plastic-y gesso works for this–you MUST have quite a bit of marble dust in it AND have a surface with tooth to apply it to.  You can make your own, or buy Bonded Marble Gesso from Frank Covino.  Several other companies are emulating Frank and finally beginning to make it also.

Working on a marbled board allows you to scrape, carve, and shape without ruining your surface.  Just remember that this gesso dries very quickly and becomes quite hard (like marble), so whatever your plan is, you should execute it as soon as the gesso is touch dry.  For instance, when I build a muscle, I keep adding coats with an older bristle brush until it’s the thickness I want.  Then, I sand it thoroughly, paying very special attention to the edges, as soon as the gesso will let me.  If you let it cure and come back a couple of days later, you’ll find it nearly impossible to make the edges smooth–it’s just too hard to work at this point.  Remember that paint will not cover up whatever textural accidents or sloppiness you leave.  The texture will still telescope through the paint, so make sure you are thorough with those edges.

All the best,

Marsha

P. S.  Just a note to remind you of the upcoming workshop

Hello, dear readers.  Here is some information I just sent out to all members of The Arizona Renaissance Art Guild, and I would like to share it with you as well.  We are having a one-week workshop where we intensively work on our paintings for one committed week.  If you will be in the Phoenix area on October 7-11, 2013, we would like to invite you to attend and perhaps make some new painting friends.  Respond to this post if you are interested.

Dear Artists:

Great news!  Karen has confirmed the dates for the Arizona Renaissance Art Guild’s one-week workshop. So, are you ready to paint those gorgeous works of art???

It’s PAINTINGPALOOZA time, one whole week to devote to your Classical painting for about $60 – $85 (total for the week), where we artists help each other make our work better and better.

The workshop is scheduled for the week of October 7 – 11, 2013, at the museum.  Workshop hours each day are from 9:00 a.m. until ?.

Signing up is simple–just send us an email and please include your phone number in case we need to contact you.  We have space for a maximum of 12 people. The more people that sign up, the less the cost!

There is no need for you to send a deposit ahead of time: just RSVP via email to confirm your attendance, and then pay your share when you get there.

And as always, if you see someone who didn’t get this email but who should or wants to be on the mailing list, please feel free to forward this on to them and us so that we will be able to include them in our next mailing.

Call if you have any questions.  Looking forward to hearing from you soon,

Karen and Marsha
Arizona Renaissance Art Guild