Beyond the Basics Encaustic Workshop Coming Soon to Salt Lake City!!

Ready to take your knowledge of encaustic to the next level? Then this is the workshop for you!

BEYOND THE BASICS ENCAUSTIC
Limited to 8 participants!
Level: Intermediate to Advanced
$500 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($250) is due at the time of registration with the remaining 50% ($250) due on the first day of the workshop. Please contact Lorraine for payment details.

When
July 26-28, 2019, 10am-4pm each day

Where
Jeff Juhlin’s Studio in SLC (Jeff will not be teaching, but he may visit on occasion)
666 West 100 South, Salt Lake City, UT

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Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number Two Description
Ready to take your knowledge of encaustic to the next level? Then this is the workshop for you! With an emphasis on mixed-media, techniques and materials include the latest tools, mark-making, surface finishing, stencils and utilizing horsehair as a drawing tool. Progressive painting and collage techniques include the use of transparency and opacity, blending, gradations, pours and how to apply and manipulate layers of color and visual information. Also included is a comprehensive demonstration of my new Encaustic PaintSmash technique, an experimental, super fun method of paint application using alternative brushes you can make yourself. It is helpful, but not necessary to have had any previous experience with the encaustic medium to take this workshop.

VISIT THIS POST to see images of student work, plus more in depth information about Beyond the Basics Encaustic. Visit this post, this post, this post and this post for more information and images about Encaustic PaintSmash as well as my YouTube Channel for videos.

WORKSHOP NUMBER TWO WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 4-8 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual or images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • sketchbook or drawing paper and drawing media of your choice
  • package of razor blades or scraper
  • smock (optional)
  • sharp scissors
  • any tool or material for any technique that you normally employ while working with encaustic
  • Iwatani torch (optional)
  • materials for collage (magazine images, photos, etc.)

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • wood burning tools
  • Disposable gloves
  • Extra drawing paper
  • Wax paper
  • Parchment paper
  • encaustic paints
  • masking tape
  • Tracing paper
  • Graphite transfer paper
  • drawing mixed media
  • Extra razor blades/scrapers
  • Pans and cups for paint and medium
  • Linseed oil
  • paper punches
  • 2 iwatani torches with extra butane
  • horse hair
  • surface finishing tools
  • alternative encaustic ‘brushes’

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and an electric kettle in the studio for your use.

Accommodations
People seem to like “Little America” ( not Grand America across the street, it’s pricier.) It’s 5-8 min drive from the studio. There are lots of others but Little America has free and easy parking, a restaurant etc. though not quite walking distance. There is a Hyatt Place just 3 blocks due east of the studio on 100 South across from the Special Event Center and a Hyatt House on the other side of the Event Center-Both easy walks to the studio. There are several others in the “Gateway Center” a couple of blocks from the studio. Lots of  Air B & B’s right nearby. Avoid any motels on North Temple Street West of the studio.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

 

Workshop Highlight: A Bonus Philadelphia Encaustic Workshop #2: Pattern

Workshop Highlight: A Bonus Philadelphia Encaustic Workshop #2: Pattern. Register Soon, Limited to only 8 Participants!

Pattern is, essentially, a compilation of elements of design: line, rhythm, repetition…Not slavish duplication, but echoing, re-enforcing, reminding….~author unknown

WORKSHOP NUMBER TWO
Mixed Media Encaustic: Pattern
Limited to 8 participants!
Level: Beginner to Advanced
$400 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($200) is due at the time of registration with the remaining 50% ($200) due on the first day of the workshop. Please contact Lorraine for payment details.

When
April 5-7, 2019, 10am-4pm each day

Where
Dora Ficher’s Fabulous Studio at Scott’s Mills
3510 Scott’s Lane, #118, Philadelphia, PA

IMG_6308

Dora Ficher’s amazing studio at Scott’s Mills

Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number Two Description
Repeated use of a shape, color or design element unifies composition, creates pattern, rhythm and movement as well as reinforces content. This workshop focuses on the creation of intricate patterns, expressive personal surfaces and complex, multi-layered pieces utilizing and in combination with encaustic painting techniques. With an emphasis on mixed media, methods and materials covered in this workshop include creating motifs, rust printing on fabric, organic and geometric form, realistic and abstract imagery, patterned collage, stencils, tjaps and candy molds. Considerations such as using pattern and repetition as content itself, to tell a story, support and/or strengthen the content message will also be discussed.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one. Additional blog posts related to other encaustic workshops taught by Lorraine are here, here and here.

WORKSHOP NUMBER TWO WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 3-6 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual or images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • sketchbook or drawing paper and drawing media of your choice
  • package of razor blades or scraper
  • smock (optional)
  • sharp scissors
  • any tool or material for any technique that you normally employ while working with encaustic
  • iwatani torch (optional)
  • textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax.
  • materials for collage (papers, magazine images, photos, etc.)
  • decorative stencils, mesh, doilies, etc-anything flat with open areas that can be used as a stencil.
  • rusty metal objects or objects that will rust
  • ½ yard, even-weave, white or light colored natural fabric for rust/compost printing and painting. RTD or PFD fabrics are preferred and are available from dharmatrading.com. Alternatives are old sheets and/or tshirts that have been frequently washed.
  • paper punches (will be provided, however, if you have favorites, please bring them)
  • Tjaps (will be provided, however, if you have favorites, please bring them)

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • wood burning tools
  • Disposable gloves
  • Extra drawing paper
  • Wax paper
  • Parchment paper
  • encaustic paints
  • 2 cups salt
  • masking tape
  • 1 gallon size plastic bags
  • Tracing paper
  • Graphite transfer paper
  • cups for mixing instant indigo
  • Extra razor blades
  • Pans and cups for paint and medium
  • Linseed oil
  • paper punches
  • 2 iwatani torches with extra butane
  • instant indigo
  • extra fabric
  • extra rusty objects

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and coffee machine in the studio for your use as well as a wonderful cafe area with tables in the adjacent galleries.

 

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

 

Workshop Highlight: Finally! A Philadelphia Encaustic Workshop #1: Collage

Workshop Highlight: Finally! A Philadelphia Encaustic Workshop Register Soon, Limited to only 8 Participants!

If oil paint is the prose of painting, then encaustic is its poetry. -Chester Arnold

WORKSHOP NUMBER ONE
Mixed Media Encaustic: Collage
Limited to 8 participants!
Level: Beginner to Intermediate
$400 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment
Payment of 50% of the workshop fee + materials ($200) is due at the time of registration with the remaining 50% ($200) due on the first day of the workshop. Please contact Lorraine for payment details.

When
February 15-17, 2019, 10am-4pm each day

Where
Dora Ficher’s Fabulous Studio at Scott’s Mills
3510 Scott’s Lane, #118, Philadelphia, PA

IMG_6308

Dora Ficher’s Studio at Scott’s Mills

Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Workshop Number One Description
This workshop takes the exciting combination of mixed media, encaustic and collage to include innovative materials and mark-making techniques in which to explore narrative. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will combine and collage photographic images, marks and texture to explore, communicate, or entertain through personal narrative. This workshop covers basic encaustic techniques and collage as well as mark-making using horse hair, graphite paper and image transfer.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one. Additional blog posts related to other encaustic workshops taught by Lorraine are here, here and here.

WORKSHOP NUMBER ONE WHAT TO BRING: the following is a list of materials for the student to bring to the workshop

  • 3-6 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual pieces OR images of your work
  • 3-5 natural hair brushes in various sizes for encaustic painting (1 smallish-no bigger than 1.5” brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
  • 1lb encaustic medium from any company (containers provided)
  • sketchbook or Drawing paper
  • package of razor blades or scraper
  • any tool or material for any technique that you normally employ while working with encaustic
  • drawing media of your choice
  • Closed toe shoes for safety in the studio
  • sharp scissors
  • Various materials for collage (papers, magazine images, photos, etc.)
  • textured objects and/or incising materials to press into and make marks in wax
  • any small sharp-ended tool for incising/writing/drawing into the wax (sewing or knitting needles are great)

Optional Materials

  • basic encaustic colors will be provided, however if you prefer working with certain colors, please bring them with you
  • iwatani torch
  • smock

MATERIALS INSTRUCTOR WILL PROVIDE 

  • paraffin for brush cleaning
  • heated encaustic tools and irons
  • Extra drawing paper
  • Wax paper
  • Basic encaustic colors
  • Tracing paper
  • Graphite transfer paper
  • Extra razor blades
  • Pans and cups for paint and medium
  • Double sided scraper tools
  • horsehair
  • heat guns (one for every two people)
  • griddles (one for every two people)
  • 2 Iwatani torches with extra butane
  • carbon copies for transfers

Cancellation
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Food
There will be no food served during the workshops, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. There is also a refrigerator, microwave and coffee machine in the studio for your use as well as a wonderful cafe area with tables in the adjacent galleries.

 

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

 

Workshop Highlight: Beyond the Basics

BEYOND THE BASICS ADVANCED ENCAUSTIC November 8-10
Big Dramatic Questions Studio, The Blue Mountains, Collingwood, Ontario
WORKSHOP WEB SITE

Basic Description
Ready to take your knowledge of encaustic to the next level? Then this is the workshop for you! This three-day workshop will focus on mixed-media techniques, materials, mark-making techniques, color mixing, and building color relationships on the canvas. Students will learn progressive painting techniques including: the use of transparency and opacity, blending, gradations, pours and how to apply and manipulate layers and visual information. It is helpful, but not necessary to have had any previous experience with the encaustic medium to take this workshop.

Who should take this workshop?

  • You are a semi-beginner to advanced painter (encaustic or other) who often finds their paintings rife with color, paint, collaged, etc. information, but can’t put a finger on what is lacking or how to finish it.
  • You have great ideas but your compositions are scattered, nothing connects or works together to tell your story.
  • You are interested in what the grid can do for your work, but don’t want to make gridded paintings. NOTE: You won’t make a gridded painting in this workshop unless you want to do so, but understanding the concept of the grid as a foundational compositional structure will make your paintings stronger. Guaranteed.
  • You’ve worked in encaustic for a while and have never used it’s transparency and layering possibilities to full advantage.
  • You’ve worked in encaustic for a while and have never scraped your layers(!) to reveal the awesomeness underneath.
  • You want to express yourself in a more meaningful way with your work.
  • You want to create consistency, a personal voice, your own mark, in your paintings and body of work as a whole.
  • Your creative process is stagnating and you need to learn a new process, idea or technique.
  • You want to know what the heck Encaustic PaintSmash is and how it will benefit your work.
  • You love image and collage, but when you embed these elements into encaustic, the collage is blurred, burned or looks clunky.
  • You love painting with the intensely pigmented color of encaustic and want to learn how to effectively apply it-how to mix color, how and when to dilute, what brushes and tools to use.
  • You are frustrated with your current body of work, your process(es) and want to create consistency, and a cohesive portfolio.
  • You dislike drawing and/or you’re afraid of it.

What happens in this workshop? What will I learn?

  • What the concepts of good design are and how to apply these ideas to fine art.
  • Marking, drawing, making marks with fun exercises are sure to relax you so that you don’t even know you’re drawing and are designed for you to generate ideas, content and a personal mark.
  • Learn my technique for applying decorative stenciling into your work and how you can use stenciling to strengthen your compositions and content.
  • Learn how to apply encaustic paint in layers and in various levels of transparency, as well as how and when to scrape back to reveal exciting forms and patterns within the layers.
  • Practice the effective application and fusing of encaustic collaged layers so you aren’t tempted to give up collage forever in frustration!
  • The magic of fusing with a torch. NOTE: I will never make anyone use a tool that makes them uncomfortable, but you’ll be able to try a torch to see if you like it and most likely, you will!
  • Experiment with doodling, mark making and process to create a personal mark.
  • Learn how to use the transparency of the wax to allow pattern and information to combine and ‘talk’ within the painting.

What kind of work will I make?
Please enjoy the work example pics below from participants who have previously taken this workshop. Please visit additional blog posts here and here for more information related to this workshop. Scroll down a bit more to see what else is included in this workshop.

 

Included in all of my encaustic workshops

  • Color, composition, application, content-the basics, the intermediate, the advanced.
  • Using color relationships, proportion, scale as an effective foundation for other painterly information.
  • Individual consultation/critique discussion with each participant. Bring a piece of work, a question, a concern, a problem and discuss it with me. My most favorite part of the workshop is this special time I spend talking one-on-one with each participant.
  • Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
  • Mark-making exercises-whether you are taking the line workshop or not, exercises geared toward making simple or complex marks to generate a personal voice.
  • Book-sharing-each participant brings their favorite art book to share.
  • Group sharing and discussion-always an amazingly helpful time for participants to share their victories and struggles.
  • A slide talk with examples of contemporary artists who apply the concepts discussed in the workshop is offered for inspiration.

Encaustic PaintSmash: Tips, Composition & Things to Think About

I hope you’ve been getting into the last two Encaustic PaintSmash How-To’s and having some fun with it. In my last post I discussed a bit about how to carve out a composition from the hot mess slather of paint. Here, I get a bit more detailed regarding composition, plus some tips and things to think about while you work.

I hope you all had a great summer and are getting into my favorite fall season. I love feeling the crisp air, moon and star gazing through clear skies and being inspired by those amazing fall colors.

Fall also inspires new ideas, techniques and methods. I hope you’ve been getting into the last two Encaustic PaintSmash How-To’s and having some fun with it. In my last post I discussed a bit about how to carve out a composition from the hot mess slather of paint. Here, I get a bit more detailed regarding composition, plus some tips and things to think about while you work. For a review of Encaustic PaintSmash, visit this post for a How-To to making an alternative encaustic brush from flashing material and this post for a How-To and video link on how to use it. Also, visit this post for my favorite tools in which some of the tools I mention in this article are highlighted.

Go to my YouTube Channel for fun PaintSmash videos demonstrating scraping, carving, color use and using alternative brushes.

  1. Some tips to keep in mind.
    • Glide, don’t scrape with the razor blade. Make sure you hold your razor blade at a 45 degree angle, not straight up and down. Resist the urge to dig in, rather think of the word GLIDE and not SCRAPE, as you work with the razor blade.
    • Focus on small areas. As you begin to scrape all that slathery paint may be a bit overwhelming so make sure you focus on a small area and then another. Don’t try to scrape it all back at once. Some areas may need a lot of scraping while others may need very little.
    • Frequently evaluate your work. Take it from the table and hanging it vertically. The work changes with every scrape and changes drastically when you hang it vertically. If you’re confused about where to go next in the scraping process, hanging the work vertically will help you see more clearly.
    • Clean your tools frequently. Heat the metal slightly and wipe clean with paper towel. Cleaning your tools keeps the blades sharp and you in more control over what you’re doing by cutting down on that annoying gunking up thing that sometimes happens.
    • Save your scrapings. Use scrapings as color and/or add to paintings for more texture. Some of your scrapings will come off in a colorful ‘ribbon’. Add this form right back into the painting, use it like collage to add a small amount of color elsewhere in the painting. Fuse it with the torch, use your fingers or brayer to flatten it down. Leave it as is or scrape it back with the loop or Sculpture House tools.
    • Take a risk. Don’t be afraid to remove too much or try to “save” certain areas. The worst is not taking enough off in one area in order to ‘save’…if you do that too much, all that deliciousness underneath will never be revealed! You have to be able to take that risk and if you do remove something amazing, you’ll just as soon find something else just as amazing.
  2. Composition in any painting becomes stronger with color contrasts. Be open to these contrasts as you scrape. Look for (in no particular order):
    • Complimentary color combinations. Get yourself and nice big color wheel and hang it in your studio for reference. Even though I have color wheel burned into my brain from design school, I still reference my studio color wheel constantly.
    • Quiet next to busy. You will find many busy areas when you use the PaintSmash method of painting. Make sure you are balancing these textured, busy areas with solid, quieter areas of color. If you find you have too many busy areas, add a solid area with a brush.
    • Neutral tones next to brights. Use your grays, whites and earth tones next to brighter areas to make those bright colors vibrate and the composition dance.

Encaustic PaintSmash: Basic Scraping Methods

After my last PaintSmash How-To explaining application of encaustic paint with your flashing brushes, you likely think I’ve gone completely mad, creating hot mess paintings with no rhyme or reason….maybe…but my madness is only temporary. Now I’m going to show you how to reel it back in, gain control of the madness and pull an interesting composition out of those colorful layers using several tools and methods.

After my last PaintSmash How-To explaining application of encaustic paint with your flashing brushes, you likely think I’ve gone completely mad, creating hot mess paintings with no rhyme or reason….maybe…but my madness is only temporary. Now I’m going to show you how to reel it back in, gain control of the madness and pull an interesting composition out of those colorful layers using several tools and methods. For a little review, visit this post for a How-To to making an alternative encaustic brush from flashing material and this post for a How-To and video link on how to use it. Also, visit this post for my favorite tools in which some of the tools I mention in this article are highlighted.

Follow the methods below to pull out, reveal and carve a composition. Use a combination of all of the methods and tools described below. Look for contrasts; solid, quieter areas of color next to busier areas, complimentary color combinations, grays, whites and earth tones next to brighter areas of color. Stay tuned for my next blog post in which I delve into composition a bit further.

What You Need (Visit this post for a comprehensive explanation of the razor blade, clay scraper and double-sided scraper tool)

  • Razor Blade
  • Clay Scraper
  • Double Sided Scraper Tool
  • An Encaustic Painting Preferably on wood with at least 8-15 layers of paint.
  • Iwatani Torch and/or heat gun
  • Time & Patience Yoga breathing, Zen

Methods (Go to my IGTV channel or to my new YouTube Channel to watch me begin to transform a chunky hot mess, PaintSmashed painting using the techniques below) Watch this video to see me demonstrate scraping using all three tools I discuss in the last blog post.

  1. Cold Scrape Best done at the start of your studio day before heating the board and by using the razor blade as your main tool. Scrape slowly without digging or gauging, taking off thin layers, little by little. Observe the subtle changes taking place on the surface of your painting. This method requires lots of patience, do not rush the process, you will be pleasantly surprised at what you find.
  2. Warm Scrape Your surface should be warm, tepid, NOT HOT, which may cause unwanted smearing and smushing. Slightly warm the surface with your heat gun or torch and scrape slowly without digging using the clay scraper or razor blade.
  3. Soft Scrape Self explanatory, but must be mentioned and must be practiced. Most people start scraping way too aggressively and way too hot. Make sure you’re not overheating and if you find you’re taking too much off or gauging, practice lightening up your pressure.
  4. Hard Scrape This method is to be used only in the event that you want to remove lots of layers at once using the loop or Sculpture House tools. I usually do this in only one section of a painting when things get a bit too busy and I want to add a chunk of a solid color. This method can also be used when you want to completely scrape back or ‘murder’ one of your paintings.
  5. Carve Use the double sided scraper tool, needles and other pointy tools to incise and carve shapes into the layers. There is no limit to the fun you will have revealing the layers and shaping a composition by digging out lines, marks and carving shapes. Watch me carve out a form (short version) OR (long version) using the double sided scraper tool.

Workshop Highlight: Surface Design & Layers at Madeline Island School of the Arts

If you are a fan of my early work and want to know the secrets of how I made it, then this is the workshop for you! Madeline Island School is ranked among the top five art and craft schools in the country because of the quality of instruction and loveliness of the surrounding area that inspires creativity.

If you are a fan of my early work and want to know the secrets of how I made it, then this is the workshop for you!

ENCAUSTIC MIXED MEDIA: SURFACE DESIGN & LAYERS
September 24-28
Madeline Island School of the Arts, LaPointe, WI
WORKSHOP DETAILS & REGISTRATION

Nestle in to the secluded Madeline Island in an absolutely gorgeous part of the world on Lake Superior. Madeline Island School is ranked among the top five art and craft schools in the country because of the quality of instruction and loveliness of the surrounding area which inspires creativity. If you’ve heard anything negative about the weather there, it’s a fib the locals spread so that they can keep the awesomeness to themselves!! I’m absolutely thrilled to be teaching at MISA this year and hope you will join me. See some lovely images of the school and read more about MISA and their location on their web site here .

Some of the materials, techniques and process we will cover include:

  • Creating patterns with shibori on fabric or paper using indigo, rust printing and bleach discharge.
  • Creating marks with heated metal and wood burning tools (pyrography)
  • Creating ornamental and repetitive patterns using encaustic with collage, stencils, tjaps and candy molds.
  • The application of thin layers of encaustic for collage-learn how to get rid of those blurry/bumpy areas when collaging into encaustic.
  • How to effectively mix, apply and fuse encaustic layers to best utilize it’s translucency and depth.
  • How to cover a panel with any fabric or paper and work back into it with encaustic.
  • How to incorporate line and drawing into your encaustic paintings using horsehair and other mixed media techniques.
  • How to incorporate stitch into your encaustic paintings for exciting textural surfaces.
  • How to make a perfect encaustic photo transfer.
  • How to create a flawlessly smooth encaustic surface.
  • The magic of the grid and how you can use it to create exciting compositions.
  • We will also discuss the conceptual use of layers, pattern and repetition with images, books and actual paintings for inspiration.
  • And so much more…just like all of my workshops, this one is taught from an experimental, alternative, hands-on approach…one never knows what other techniques and possibilities might pop up during the workshop.
  • Also in the spirit of all of my workshops, we will spend a lot of time exploring the surrounding landscape for found objects, photographs and inspiration.

See the gallery below for some workshop highlights and workshop work from a similar workshop I recently taught at RF Paints. For more information and highlights from workshops similar to this one, see this post, this post, this post and this post.