HOW TO CHOOSE A WORKSHOP) = AMERICAN AN INTRODUCTION TO OIL & ACRYLIC yA ed TIST ‘www.myamericanartist.com Workshop FOR OIL & ACRYLIC PAINTERS Instructional Articles Take You to Painting Workshops On Still-Life, Landscape, & Figure Painting Ker bgel ys A Bar legend ley ae 1 poi SCA gato tec fe cd i | ca ee eb eee CBS Ce » Professional Artists & Bice rs —Phot © Bras _ Worksho want eR 2005 FOR OIL & ACRYLIC PAINTERS Op 6 Glossary 4 Bditor’s Note @ OM and Acrylic Paint By woe SHAR adercianding the physical nature of a medium is the key to mastering it, This is never more tue than when ‘working with oil and acrylic paints, 18 Preparing for Instruction: Haw to Choose ‘and Get the Most From a Workshop (8 ALISON MALATE ‘When considering the many instructional opportunities available to artists today, well-informed decision making, ensures that a student will get the most from the ‘educational experi 26 Rotty Kaytes: Start With a Still Lite Beginners often feel most comfortable painting still life arrangements because they can keep the subject simple, ‘ontrel the light and working environment, and give ‘themselves plenty of time to leaen, Those ate some of the reasons Betty Kaytes has been filling heer workshop for more than 40 years 90 William Hook: Painting Acrylic Landscapes From Photographs wr e0e aan Use yeutr camera as a compositional tool, pull contrasting areas, punch in the lig ‘process, and keep it simple until the endl, the artist advises 86 Daniel F. Gerhartz: Forms in the: Light 187 W. STEPHEN COMER ‘Want to study with Wisconsin painter Daniel F. Gerhart, ‘one of the most perceptive figure painters in the country? Take advantage of macern video and computer technology and have this renowned artist come right into your home. 12 Pegi Kroll-Roberts: Establish Values and Color Will Follaw sy ece mown ‘This California-based artist attracts students imerested in learning the discipline of value relationships, whieh mvs the kind of freedom with intense colar that is evident in her oil paintings.86 Dawn Whitelaw: Painting a Portrait With a Three-Color Oil Palette YM. STEPHEN SoHERTY ‘When is painting a portra landscape? Always, says this active: Tennessee artist her point in which students were 10.0 few inexpe 100 Jaseph Orr: Using Acrylics Outdoors and in the Studio YM. STEPHEN BoHEnTY Missouri artist Joseph Orr takes avai pid drying ight and rich detail NO George Strickland: Learning to See 1 George § paint reall ‘workshop. reco ed nations 120 Advice on Plein Air Painting Ross Merrill sug nudonrs and offers specific ns on how te make painting panels, mount wm-panels, convert a paint box into a ed pochade box.EDITOR’S NOTE For mast art enthusiasts, a short-term workshop offers the only realistic oppor ‘tunity to learn how to paint or to improve one’s skills. unider the guidance of a professional aris Life's hectic pace simply doesn't allow more time for explor: ing one's creative passians. But as short and as limited as a workshop might be, it can provide a wealth of ideas and influences that sustain an artist for years. Justa few-eritical comments from a poteeptive teacher or a well presented ‘demonstration can elevate students to a higher level of accomplishment. I've seen that happen dozens of times, and that's why 1 knew a magazine offering indepth explorations of the workshop experience would be helpful to painters. Workshops also affer the opportunity to risk trying new methods, materials, and ideas. For a brief period of time, artists can put aside their tried-and-true supplies, subjects, and techniques and experiment with someone else's approach, Most experienced instructors will urge their students to not focus on creating finished works of art during the four of five days of the program but, rather. trexploze new approaches. One superb teacher starts her workshops by ‘warning the studemts, “If you make great paintings this week, I'l know you bhaveo't learned anything." ve studied art far more than 40 years, so 1 knew how beneficial a workshop ‘with Dawn Whitelaw aind Daniel F, Geeharta would be for me, I was delighted to share similar benefits with the other editors by sending them ta workshops they could write about for this new magazine, Brian Riley got the first assignanent in the south of France where George Strickland taught plein air painting, Bob Babr ‘made tips to the art communities of Taos and Laguna Beach so Wi and Pegg Kroll-Roberts could help him develop his interest in landscape paint. Lynne Moss Perricelli, whose ability to travel was limited by her pregnancy. ‘was introduced to an historic art school just a few mies from her home in New Jersey. By the way. Lynne, Paul Pervielli, and their son Charles Francis Perricelli are doing very well Allison Malafronte and Meredith Lewis joined our stafT'ton fate in the year to Participate in a workshop. but they researched several important questions about selecting a workshop, understariding the terminology used by the instructors, and grasping the nature of oil and acrylic paints. We're already working on articles for the next two Issue of Workshop due out in the summer and fall. It would help to hear fram you as we move ahead with those instructional features. Please let me know abouit your experiences and the ‘recommendations you have for outstanding instructors. Yt DAC AHI en ] Avid fod ‘Worksh | FOR OIL & ACRYLIC PAINTERS a= Me Sepia siston eo fan Fey ‘irc Spaing ‘Aleem Mt. abSorte (Gabi snes06 AssoxTe Punusiee ack Leigh loan sayaass ‘oneMLaTION RETO wel Een ‘Gite Rete Megan A tack (a6 ssess08 sLonceTGnebia ART CROUP racist Michael Either scm Ha Mie ss feleryD. Ware face Day (650 #8200AMERICAN selina trequmes vad Ucad 145 Master Workshop lacie] - me 7; ae ne | ry eg rat(ey aH Figure, Landscape, Portrait, & Still Life | a 5 Approaches TO THE FIGURE FROM 5 TOP ARTISTS 01a meeps UTM Tie atdCONTENTS Editor's Note porary paletes reveals the ‘S| Meet the Masters throughout history. Learn more about Weekend With the Masters instructors. 26 The Masterful Use of Water- color Throughout History 1M Moments With the Mastors 5 Jont A. PaS From the first. dating practitioners he 18° century to the modern antists oft color has long been a medium of HONORING THE MASTERS OF the masters THE PAST 22 Pearls From Painters Past (6 Inside the Artist's Studio: ‘Noshing sets the tone for arin. ‘The Importance of Legacy from painters pat 26 Living Color ile Preewoxtek, arene wR revealed how an artists Allook at historical and comtem education both positions the 2 mera Act Pairitiag: Workshop Masters artist in a historical content and jos tree proce. LEARNING FROM THE MAST OF THE PRESENT 56 Approaches to Drawing: Five Instructors Share Their Philosophies and Methods Fhe artists at Weekend With the Masters devted asses todr, Alleelem instructors, processes ranging from precise aca demic studies to loose, quick skeiches 68 The Secret to Richard Schmid’s Still Life Painting BY ALLISON MRLAR This anticle looks at both the infor. mation offered in Richard Schmid's recent sil life demo the principles and philosophies he has been sharing with artists for more than 4o years Shape, Value, Color, & Edges: ‘The Cornerstones of Painting. ay NacMa EXPER Although there an criteria by which one can define a painting as “great.” there are certain fundamentals that artists repeatedly retro 10 de 88 Plein Air Painting im Laguna Beach: An Enduring Landscape Legacy artist nd writer Molly Siple bring the o the present with a look at th original Laguna plein air painters ind several California-based Week: end With the Masters instructors who painted in those same locations this past September.100 Binding the Figure in the Practices of Contemporary Painters BY COURTHEY soRauae The realistic renslering of the human figure is offen considered one ofthe greatest snatist can develop. ENCOURAGING THE MASTERS OF TOMORROW 112 The Importance of Mentorship: One Artist's Journey fv GEORGE GALLO las Angeles artist and filmmaker George Gallo has seen firsthand what the power of mentorship can Here he tells usabiout the people who have come ide him churing his artistic journey. 120 Pursuing Excellence in Representational Paintin: BTML cORULEY The prac octors, as well asa tutorial with the maser artis on Sie 3 the role of photography i painting and the importance of working from life. several Weekend With the Masters 130 Giving Back to the Next Generation (BY ALLISON MAGA In the spirit of giving back and enceniraging the next eneration of artists, Weekend asters recently ratsedl funds for the L allege of At & Design's echacationsal programm and the California Art (Club's Mentor Progratm 136 Marketing Secrets of Art Masters By nat BB. Eric Rhoads is a publisher, artis. and collector With decades of experience on both tke business and creative side of ats look waking art. His advice is p boost business ful toany 142 Testimonials Here's what people are saying about American Artists Weekend With the Masters Workshop & Conference