DRAWING THE PORTRAIT IN RED CHALK

WITH DAN THOMPSON  |  28 october—29 october, 2017|  9:30 A.M.—4:30 P.M.

o'connor art studios 

2316 university blvd, tuscaloosa, AL 35401

PURPOSE OF THE COURSE

This historically based drawing workshop will examine the portrait in red chalk and red crayon on hand-toned paper.  In an extended portrait pose, participants will learn about mark making—particularly hatch mark as they discover the differences in binding media and their potential applications.  Students will build up their pieces to describe nuances of features in the human face after chiseling the major planes.  Contour, linear characteristics, editing forms and insights offered by the instructor should provide a strong foundation upon which to develop more proficient life drawing skills.  Additional time in order to prepare the paper will be required. 

Drawing Demonstration The workshop includes a three-hour drawing demonstration 6 -9 p.m, Friday, October 27.

2 DAY WORKSHOP 

DRAWING MATERIALS:

  • Eraserstik, pink pearl eraser (for erasing through the tone - kneaded erasers are too weak for this)
  • kneaded eraser
  • drawing boards and large clips/clamps
  • roll of masking tape
  • A "chalky" pencil:  Stabilo CarbOthello pastel pencil (terra cotta/earth red color(s) examples: no. 655, 675 or Conte pastel pencil- red earth (as close to the color of the waxy pencil as possible)


    A "waxy" pencil:  Sanford Prismacolor Verithin colored pencils- earth red color(s) (Terra Cotta, no. 745 1/2) or similar

    (In a typical art store,  look for all the "earth red" colors...rubbing the tips of various pencils on a throw way piece of paper; arrive at 4 or 5 similar colored "pencils".  For example, a CarbOthello earth red/orange, no. 1400/675 "pastel pencil" can then be swapped out for a Faber-Castell PITT PASTEL, no. 1122-188which is slightly darker; a Conte Sanguine pencil (not stick) can also be used, prior to the waxy (more permanent) material:  The Verithin (listed above), Cretacolor Sanguine (2) 462 02, a KOH-I-NOOR Progresso 8750-22, a Faber Colorama 8013 and/or a DIXON 386 solid red crayon. The contemporary term, 'mixed media' applies to red chalk) 

  • blending stump

PAPER: 

  • A 1" cheap bristle brush for toning paper
  • 1 throwaway plastic tray
  • 1 small tube of ultramarine blue watercolor
  • 1 small tube of raw umber watercolor
  • 31x41" GUTENBERG LAID  – “mouldmade from 100% high alpha cellulose; laid surface with 4 deckles. Light tan speckled with brown. Neutral pH”*; 130 or 180 gsm weight (not the lightweight variety); 1 - 2 sheets

TO REGISTER, PLEASE CONTACT: O'connor art studios


portrait  drawing intensive

WITH DAN THOMPSON  |  16 november—18 november, 2017|  9:30 A.M.—4:30 P.M.

gallery 1261

1412 wazee street, denver, Co 80202

Desi_18x24_graphite_si demo_2016.jpg

PURPOSE OF THE COURSE:

This structured, three—day long (approximately a 12 hour pose) course will offer students a unique opportunity to engage, interpret and create a compelling drawing of the head and shoulders from life. . Throughout the development of the long pose drawing, participants will be guided—by means of descriptions and demonstrations—on planar head landmarks, light and tonal effects on the flesh, construction and how perspective alters the appearance of structure, comprehending/interpreting form through dynamic mark making and expressive feature drawing. Criticism will exist in the form of lecture demonstrations (for planning and troubleshooting) and in one on one exchanges.  

3 DAY WORKSHOP

FOR more INFORMATION and a materials list, please contact: Gallery 1261


Exploring Facial Expression Through Drawing

WITH DAN THOMPSON  |  2 december—3 december, 2017|  9:30 A.M.—4:30 P.M.

the art league

105 north union street, Alexandria, va 22314

PURPOSE OF THE COURSE:

This portrait drawing workshop studies the aesthetic changes which take place in a model’s facial expression. Using four different poses over two days, focusing on a variety of expressions, students learn about landmarks in the face and how to modify their relationships to describe the details of features within major planes. Tonality utilized in this context greatly affects the degree of expression and leads to dialog about over/under modeling as well as unity of expression. Instructor insights provide a strong foundation upon which to develop more proficient life drawing skills.

2 DAY WORKSHOP

MATERIALS:

Graphite pencil is the concentration.  Specifics include:

GRAPHITE PENCIL & PAPER: 

  • Mitsu-Bishi “Hi-Uni” graphite drawing pencils (4H, 2H, HB, F, 2B, 4B)
  • Strathmore 400 white/cream drawing paper, 18x24” (brown cover, 80lb. weight)
  • blending stump
  • kneaded eraser
  • tape
  • drawing board
  • 2 large “alligator” clip large enough to clip the board to an easel

To register, obtain a supply list, or FOR MORE INFORMATION, PLEASE CONTACT: The Art league school


Gesture: Achieving Vitality In Oil

WITH DAN THOMPSON  |  18 august—19 august, 2018|  9:30 A.M.—4:30 P.M.

the art league

105 north union street, Alexandria, va 22314

johnny 1_2017_22x28.jpg

PURPOSE OF THE COURSE:

This painting workshop focuses on the ability of participant to capture the sense of energy specific to each pose. All skill levels are encouraged to participate. By means of varying pose lengths (from short to intermediate) the exercises cover the first marks, abbreviations of the pose, longer linear relationships, and the calligraphy. Instructor insights provide a strong foundation upon which to develop more proficient life drawing and painting ability. Model fees are extra. 

2 DAY WORKSHOP

FOR more INFORMATION and a materials list, please contact: The Art league school


drapery In Oil

WITH DAN THOMPSON  |  20 august—22 august, 2018|  9:30 A.M.—4:30 P.M.

the art league

105 north union street, Alexandria, va 22314

001-06-Zoe, Oil, 30x40 inches.JPG

PURPOSE OF THE COURSE:

This painting workshop teaches drapery as complex still life, interpreted through structural drawing exercises. All skill levels are encouraged to participate. A long pose exercise will be set for the entire three sessions, intended to address tonal relationships in grisaille (although additional colors are welcome). Students explore surface modeling via underlying interconnected organic forms, supported by drawing insights. Instructor demonstrations enable students to interpret drapery in space more convincingly in their future work. 

3 DAY WORKSHOP

FOR more INFORMATION and a materials list, please contact: The Art league school