This workshop will revise the centuries old technique of grisaille to build the foundation for excellence in portraits.
with Katharine Almas
*prep day July 6th
Sat July 12
Sun July 13
10am -4pm
$250 non members
$225 members
please contact the gallery to register
*to secure your spot register with a $50 deposit. Payment in full is required two weeks prior to workshop start date (Sept. 12). ALSO Please contact the gallery for more information if you are interested in two half-priced spots for students and seniors.
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This workshop will revise the centuries old technique of grisaille to build the foundation for excellence in portraits. Showing painters how to use products from this century as they were meant to be used, overcoming the long feud between the oil and acrylic camps, and understanding that the thinking painter uses all tools available in our time. The end result of any excellent work requires breaking out of your comfort zone, with heavy equipment if need be.
with Katharine Almas
*prep day July 6th
Sat July 12
Sun July 13
10am -4pm
$250 non members
$225 members
please contact the gallery to register
*to secure your spot register with a $50 deposit. Payment in full is required two weeks prior to workshop start date (Sept. 12). ALSO Please contact the gallery for more information if you are interested in two half-priced spots for students and seniors.
------------------------------------------------------------------------------------------------------------------
This workshop will revise the centuries old technique of grisaille to build the foundation for excellence in portraits. Showing painters how to use products from this century as they were meant to be used, overcoming the long feud between the oil and acrylic camps, and understanding that the thinking painter uses all tools available in our time. The end result of any excellent work requires breaking out of your comfort zone, with heavy equipment if need be.
We will be using acrylic mediums to form bone structure and lay shadows and light on the tissue and muscles of the face. This ensures a stable foundation to then enhance with layers of transparent and opaque oil. This technique dramatically reduces the time involved for oil to dry. The best of both mediums will have the finished look of soft, silky oil, but still retain the clean edges and depth of the underpainting in acrylic - a perfect partnership.
This method will convince the 'oil only' painters to overcome their reluctance and try these products that were, of course, unavailable to the masters. For the acrylic loyalists who cannot tolerate the slower pace of oil, grisaille will open up a new world of possibilities when they see the effect of layering a finish with rich organic oil. This thin layering dries quickly but the alla prima allows soft blending. The end result is a portrait with startling clarity and depth. Something different - painting with an edge.
It is Almas' intent to inspire and show the way to a new approach. The classic portrait can be taken to an updated level, all that is needed is a willingness to try. The finished work will speak for itself - speaking out, drawing an emotional response from the viewer. Painting with intent and intensity. Smart Art.
This technique is best presented with an extra day for the preparation and indoctrination of the participants. This is preferably one week before the workshop begins. This five hour day will be at no cost to you - as it is Katharine's personal request. She wants to ensure that the duration of the workshop does not conflict with the pace of the painters. During this session participants will prep their canvas, choose an image and discuss all supplies and colours needed for their selection
Working from the photo of their choice, participants will focus on a character study rather than a family member. The likeness trap can hold a painter hostage with alarming strength. Using a stranger's image as inspiration will free the participant from this and allow Katharine to work on the importance of working from the inside out. Many portrait artists will start with the surface details and end up with just that, a decorated surface; the deep underlying bone and tissue is not there. Regardless of the style of each painter, the finished portrait desperately needs to look alive.
-----------------------------------------------------------------------------------------------------------------------
Supplies:
(all painters will have their favourite brushes, this is just a list of essentials)
Participants will bring their own supplies with the exception of easles, palettes, and odorless thinner. These items will be supplied by the teacher.
Brushes:
Acrylic: one 3/4" Nylon Flat, one #12 Nylon flat, most comfortable script line, one #10 or #12 white bristle hog hair flat.
Oil: one flat background brush, one #12 or #14 blending brush (nylon or natural bristle), one whisk (small nylon fan works well).
Paint:
Acrylic: black and white
Oil: colours will be chosen for your particular painting on the prep day.
Misc:
water container, paper towel, q-tips, writing material to take notes, masking tape, lunch, oil painting medium, and small container.
Do not bring:
turpentine, turpenoid, or any thinner. A safe odorless thinner will be provided.
Bring to prep day:
one 16 x 16" primed canvas (priming can be done in class if necessary), your choice of photo, or a selection if you need help. Supplies from the acrylic list only. Lunch.
The equipment supplied by the teacher is to control space and ensure a healthy air quality.
This method will convince the 'oil only' painters to overcome their reluctance and try these products that were, of course, unavailable to the masters. For the acrylic loyalists who cannot tolerate the slower pace of oil, grisaille will open up a new world of possibilities when they see the effect of layering a finish with rich organic oil. This thin layering dries quickly but the alla prima allows soft blending. The end result is a portrait with startling clarity and depth. Something different - painting with an edge.
It is Almas' intent to inspire and show the way to a new approach. The classic portrait can be taken to an updated level, all that is needed is a willingness to try. The finished work will speak for itself - speaking out, drawing an emotional response from the viewer. Painting with intent and intensity. Smart Art.
This technique is best presented with an extra day for the preparation and indoctrination of the participants. This is preferably one week before the workshop begins. This five hour day will be at no cost to you - as it is Katharine's personal request. She wants to ensure that the duration of the workshop does not conflict with the pace of the painters. During this session participants will prep their canvas, choose an image and discuss all supplies and colours needed for their selection
Working from the photo of their choice, participants will focus on a character study rather than a family member. The likeness trap can hold a painter hostage with alarming strength. Using a stranger's image as inspiration will free the participant from this and allow Katharine to work on the importance of working from the inside out. Many portrait artists will start with the surface details and end up with just that, a decorated surface; the deep underlying bone and tissue is not there. Regardless of the style of each painter, the finished portrait desperately needs to look alive.
-----------------------------------------------------------------------------------------------------------------------
Supplies:
(all painters will have their favourite brushes, this is just a list of essentials)
Participants will bring their own supplies with the exception of easles, palettes, and odorless thinner. These items will be supplied by the teacher.
Brushes:
Acrylic: one 3/4" Nylon Flat, one #12 Nylon flat, most comfortable script line, one #10 or #12 white bristle hog hair flat.
Oil: one flat background brush, one #12 or #14 blending brush (nylon or natural bristle), one whisk (small nylon fan works well).
Paint:
Acrylic: black and white
Oil: colours will be chosen for your particular painting on the prep day.
Misc:
water container, paper towel, q-tips, writing material to take notes, masking tape, lunch, oil painting medium, and small container.
Do not bring:
turpentine, turpenoid, or any thinner. A safe odorless thinner will be provided.
Bring to prep day:
one 16 x 16" primed canvas (priming can be done in class if necessary), your choice of photo, or a selection if you need help. Supplies from the acrylic list only. Lunch.
The equipment supplied by the teacher is to control space and ensure a healthy air quality.
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