Workshop Day One

Monday Morning.

This morning the fog was gone, mostly, so bright and early I traveled down to Cheap Joe’s for the first day of my workshop. It was interesting to see who all came. There are 12 people in the workshop, all women! There was one man signed up, but never showed. Outnumbered?

Jane Jones is the woman who is leading it. She is a floral artist who specializes in realism and glazing techniques. I for one felt uncertain about this workshop. Even though this is something I have always wanted to learn more about, I am totally inexperienced with this, and unsure of myself.  Jane's Website

Jane runs a tight ship. She knows what she wants to teach, and have enough experience to know what to focus on and what shortcuts she needs to take to get things done in the short time we have.

The major problem we need to overcome is the slow drying time of oils. To deal with this we used a drying agent, and lamps to speed curing of the paint.

We did start by toning the work surface. Basically we took the white off (something I am used to) with a thin coating of burnt sienna on two small supports and payne’s gray. Then while those were drying up, we traced the basic layouts for 3 works.

One interesting thing, during the opening orientation, we had to read a copyright statement and sign an agreement not to use the images given out in this workshop to make money, or use the work for shows. It was simple, straightforward and she was right. Also, no photos, so no photos of the workshop itself.

There could be no misunderstanding; she explained it simply and completely.

There was minor confusion about the lamps we were to bring. They are to help cure the paintings, to speed things up, but most new lamps do not take the needed 100 watt bulbs. I ended up buying a trouble lamp at the hardware store. A few people have older lamps or did find some on the internet. So between us and the staff of Cheap Joe’s we came up with enough lamps to speed the setting up of all supports.

We actually started the underpainting of one of the works in the afternoon. We painted until 5:30. when we left, I think we all were tired!

Workshop - Day 2

Well, today was a little easier. At least the anxiety is not as bad. I was actually looking forward to it, and feeling a little more comfortable. I walked into the studio, and went to my workstation as if I had been going there for months, instead of two days.

We started with a critique of our work, which went really well. The class is very talented! There were several paintings I wished I had the talent to paint! We all work at different paces, but, as usual, I am one of the slowest. I am used to it. Many have started their 2 paintings already. I put my work from yesterday in the sun to cure a bit, and sketched out two more small paintings. One of Ritter Park, in Huntington, WV and the other of two people fishing along the Kanawha River. I am going to try to do both in a more impressionistic style, less detailed and fussy.

I am getting into using India ink to sketch out my paintings. And the ink wash was a value sketch has its merits. I am finding those few ink lines really help me decide if the basic composition is strong enough for a good painting, or if it needs to be changed.

These lines are permanent, but they can be erased by glass cleaner. (It is the ammonia that does it.)

I am trying to decide if I will use gouache as an underpainting medium or try the mat acrylics. Since I used gouache for the first I am thinking that I should use the mat acrylics. I will start the Ritter Park painting tomorrow, and save the fishing painting for Thursday. That one I will do in water-mixable oils.

I am hoping one of the paintings will turn out, but even if they do not, I have already learned a lot and gained much more confidence in what I am doing.

The painting is much more fun. I have gotten a lot from the teacher's demonstrations, but also I have learned from watching the other students work. There are as many different approaches as there are students. I have never had the chance to work with such a large group, taking in all different approaches and visions.

Some have such a brevity of work, but get such outstanding results. I am sure tomorrow will be just as stimulating.

Workshop - Day 1

8:45 and I pull into the parking lot of Cheap Joe’s. Nerves on edge, I parked, ready? For the first day.

The studio is well light, and spacious. Even though the room was just about filled, it was not crowded. Most seemed quite experienced, which I found a bit intimidating.

Nonetheless, I was there to learn and learn I did.

Sean Dye is the name of the man leading the workshop. You can see his work on his website, Sean Dye Studio. http://www.seandyestudio.com/ He does have a unique way of starting a painting.

He encouraged everyone to try a variety of surfaces. Being at Cheap Joe’s, these were readily available. He also talked about adding texture at the beginning, even before the underpainting.

First painting, we had a choice of mediums to add texture, gel medium, modeling paste, etc.

I used a really rough one with pumice in it, as I had use the smoother gel medium before. I am doing a painting with a lot of rocks in it, and the medium will determine where the rocks are.

Also, a new thought, he makes sure he tints his canvases with a mat acrylic. Most acrylics tend to have a shine to it, but a mat acrylic will give you a little better hold for the later oil layers. This may be why from time to time we get a complaint about adhesion on the painting forum. They may be using a high gloss acrylic paint for their underpainting. I did not realize there was such a thing, but there is.

A solid acrylic wash was put over the entire canvas, and then it was set out in the sun to dry. Today the temp got up to 87°, drying did not take long!

One really new thought, he sketches his oil painting, not with pencil or charcoal, but with India ink! It does not react with oils at all.

Tried it, and it does make for a great way to draw out the painting.

After the line drawing, we then used ink washes to locate and set our lights, mediums and darks.

After that was dried, we had choice again of medium for the underpainting. I have used acrylics before, but again, mat acrylics to insure there is no trouble with the later oil layers. But the other choice was gouache. I never heard of this, but watched his demo, and it works! This tends to be a thin layer, which is what you want. This underpainting is done in complementary colors, so they tend to look weird.

Then the layers of oils were begun. Using a drying medium and very thin paint, color is built up thinly but quickly.