WORKSHOP AT CCMC
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Day 1: 9-10am: Course & materials review, bibliography, safety discussion, introductions, stretch and prime linen canvas with rabbitskin glue. Participants will be strongly encouraged to keep notes concerning demonstrations and observations. We will begin an in-depth examination of pigments, substrates, brushes and techniques as they relate to drawing and painting. In order to better understand the challenges faced by artists, students will be asked to paint and draw from life. Simple still-lifes and drapery will be provided as subject matter.

The first three days of this intensive five day workshop will consist of an in-depth examination of pigments, substrates, brushes and techniques as they relate to drawing and painting. These investigations into the production of art-making materials will be a catalyst for future research. Cultivating the powers of observation is important for developing an understanding of the techniques utilized by many artists of the past and will be emphasized as a guide to problem-solving.

right: student working on still-life with constant light source

far right: Jan Vermeer,The Love Letter, 44 x 38.5 cm, oil on canvas, c.1667-1670

Day 1: 10-12am:

 

right: Michelangelo, Madonna and Child, black chalk heightened w/ white

 

Day 1: Lunch Break 12-1pm

Day 1: 2-3pm: Visiting artist will give a one hour demonstration - working on toned paper w/ vine charcoal, chamois cloth, black and white general pencils, meanwhile, participants will tone linen canvas. Visiting artist, Shou Xiao-Xing, gave a one hour demonstration with the above mentioned materials, meanwhile, participants toned linen canvas with an earth tone oil colour. Discussion: deacidification of paper may alter the carefully manipulated 'grey' tone or middle ground used by the artist to determine values.

Students will be exposed to many possibilities concerning mark-making implements. A physical link to the past will be provided as students are confronted with the same questions/decisions as their predecessors: is my paint too lean, do I want my surface to be more absorbent, how soft do I want my charcoal?

Day 2: 9-10am: Paint-brush demonstration, bristle brushes, sables, flats, rounds, fans, etc. Stretching paper and prepare ground for silver-point using chinese watercolor on hot pressed paper. Making gouache and watercolour paints.

Create frozen draperies by dipping cloth in glue and attaching to 5cm gridded piece of cardboard. Begin silverpoint drawings with the cross-hatching technique demonstrated using a grid which corresponds to the cardboard. Leonardo Da Vinci visually referenced.

Day 2: 10-12am: Introduction of work by and various painters who have utilized a variety of alternative techniques which emphasize squaring up, or increasing the size of prepapatory drawings. Traditional techniques such as silverpoint drawing and egg tempera will bedemonstrated. Flattened out impasto compared with undisturbed impasto compared side-by side. The grisaille is a tonal painting which, when later glazed, leads to very luminous painting and will be started today using a fast drying egg-oil emulsion.

 

'The bright minute touches of an unglazed Venetian picture must have appeared quite raw, and almost snow tipped-sglazing wasindispensable to lower and harmonize the work. Looking, however, to such a final process, the bright touches might [be most sparkling. It is a mistake to aim at this harmony too soon; the attempt leads to want of vigour in handling, want of light, and ultimate flatness and dullness. Boschini observes that Titian's pictures were gemmed all over during the work; and no doubt just before they were completed by glazing. '

- Sir Charles Eastlake

19th C. copy of Ingres's, La Grand Odalisque

Day 2: Lunch Break 12-1pm

Day 2: 2-4pm: Paint grinding with raw pigments, oil and wax. Owner of St Luke's artists colourman, David Coles, will come to speak about the pigments he has available, and assist with the demonstration of paint grinding. Participants will then pack the paint into pig's bladders and collapsible tubes.

 

Day 3: 9-10am: Glazing of underpainting, colour theory, complementary glaze weaving. Participants work on glazing applications and the mixing of colours in a transparent and opaque fashion. Discussion of the aesthetics of an intentional glaze versus over-cleaning of pictures.

Ingres', La Grand Odalisque, oil on linen, 1814

Day 3: 10-12am: Visit from contemporary artists, Kim Vernon & Ian Wells to discuss cool/warm colour theory in conjunction with historical practices.

Day 3: Lunch Break 12-1pm

Day 3: 2-4pm: continue with experiments 

Varnishing with coloured glazes and dammar varnish,
strengths and weaknesses