Tuesday, January 29, 2008
Neither Sandy nor Ze had ever painted in oils before December. That they each have an oil painting in their portfolio is an indication of how hard they’ve worked.
Sandy started working with me seriously in the summer of 2007, although I have known her for many years.
Skeleton life drawing, graphite, approx. 18X24, 2007
Monday, January 28, 2008
Thursday, January 17, 2008
Register by February 20, 2008
Esplanade Travel (718) 597-1414
June is the perfect time for plein air painting in Taos! Join workshop instructors Shelli Robiner-Ardizzone and Carol L. Douglas and experience the beauty and majesty of the western landscape that captivated Georgia O’Keeffe, Nicolai Fechin and many others.
The fee of $1200 includes five days of painting, lodging at the historic Sagebrush Inn and two meals per day.
There will be both morning and afternoon painting sessions en plein air with a midday break for lunch. The days will also include individualized instruction along with instructor demos.
Painters are welcome to work in oils, pastels, acrylics and watercolor. Materials list and daily schedule will be supplied upon registration A branch of Artisan-Santa Fe art store is nearby.
For more information about instruction, contact Shelli Ardizzone.
TRAVEL ARRANGEMENTS AND FEES
Call Jeannie at Esplanade Travel to coordinate flights and lodging reservation, at (718) 597-1414 or email her here.
Reserve your workshop space with a $550 deposit by March 1, 2008.
Shelli Robiner-Ardizzone has led workshops for 8 years at the Women’s Studio Center, LIC, and at Great Neck Arts Center. She has been awarded a residency at the Vermont Studio Center and grants from the National Academy School and Art Students League. (http://www.shellirobiner-ardizzone.com/)
Carol L. Douglas is the chairperson of New York Plein Air Painters and teaches plein air, studio and figure painting in Rochester, NY. She studied at the Art Students League and elsewhere. (http://www.goaway-letmepaint.com/)
Monday, January 14, 2008
A student had stored these pastels in a nylon carrier which holds six plastic boxes. Each box contained a selection of hard and soft pastels in roughly analogous colors. Because there was no rice or foam or compression holding the pastels in place, they danced jigs against each other. The resultant grey slurry coated the sticks, making it impossible to tell what color each pastel was.
We are cleaning them and putting a bed of rice in the bottom of each tray, but the process takes hours. Better to avoid the problem.
White rice (uncooked, please!) is a tried and true method of keeping pastels clean. It is cheap and renewable. (Be careful disposing of it, since it might tempt small animals.) Nevertheless, little rice-filled boxes are a pain in the neck to handle en plein air.
My favorite pastel box has hard panels which press in place with Velcro seals. These hold my pastels securely between two sheets of foam. My local art supply store has discontinued it because it isn’t well-made (I’ll vouch for that) but rather than show you some commercial alternatives, I’d suggest that you look at this delightful rendition made out of a cigar box. For my purposes, it’s too small, but I do like the price.
Cori Nicholls' cigar box pastel pochade. Devilishly clever, follow her link, below!