Forest Space 19

Abstract Watercolors

Wednesdays, December 2 – 6: 6:00-8:00pm

Abstraction is a fun and unique way to work with watercolor.  We will briefly cover the basics of watercolor and then delve into experimental techniques that respond to the patterns, colors, and textures. Composition will be discussed along with ways to express oneself through the flow of water. Beginners are welcome! 

$59 Member/ $74 Non-Member Register by phone: 262.375.3676 or online

121 Tree Pattern Platform

Mixed Media Pastels with Beki Borman

Wednesdays, October 28, – 18: 6:00-8:00pm

Pastels are one of the most versatile mediums.  In this class we will take pastel drawing to the next level. Intricate under paintings, experimental techniques, layering, and more will be covered.  Learn to combine pastel with watercolor, pencil, acrylic, and more! Beginners welcome. 

$79 Member/ $98 Non-Member Register by phone: 262.375.3676 or online

Chromascape167 Humid Morning

The Landscape in Acrylic from Photos

Wednesdays, September 16,- October 7, 6:00-8:00 pm

Working from photographs, students will develop multiple paintings, with a focus on how to achieve depth, atmosphere, and feeling in a landscape painting. We will discuss techniques and compositions that help create a successful image.  The basics of acrylic will be covered, along with the steps to begin and execute a single artwork.  This is a perfect place for beginners to dive in!

$79 Member/ $98 Non-Member Register by phone: 262.375.3676 or online

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Thoughts on Process

 

I recently taught a class, “Painting by Process” at the Cedarburg Cultural Center. The purpose of the class was to take students step by step through planning and execution. Often my students ask me in such classes, “Do you really work this way?” The truth is no, but I should. The class involves composition studies and value studies on the first day. The second day we do a study focusing on color. The last two sessions are spent executing a larger final painting. Each day also involves journaling with prompt questions. While this is not the only way to work- it is a beneficial one. Not all people are planners. I know I am not (at least when it comes to painting). Many painters are spontaneous and in the moment and I think that is important too. But at least once and a while it is important to slow down and plan. Even if it does not result in a masterpiece. The process will force you to think more critically about your art and that habit will carry over even when not intentionally utilized.

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Painting Without a Brush

Sharon Lynne Wilson Center for the Arts, 19805 W. Capitol Dr. Brookfield, WI

Saturday, August 1, 2015
9:00am – 3:00pm (with a 30 min lunch break)
Develop your own style of acrylic painting! This class will cover several brushless techniques to achieve a variety of “painterly” effects. Both traditional and non-traditional tools will be demonstrated. Students will be invited to work from photographs in any subject they choose to create two expressive paintings in this one-day workshop.
$75 /$65 for donors Register by phone: 262.373.5023 or online

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20+ Paintings

Cedarburg Cultural Center, W62 N546 Washington Ave. Cedarburg, WI

Wednesdays, August 5 – September 1, 6:00 – 8:30 pm

An artist really learns to paint when given the freedom to let go of a subject and the expectations of a single painting.  This class will help students do this through repetition and technique.  Painting the same subject twenty times, students will learn experimentation and will be challenged to find ways to rediscover the subject.  The uses of acrylic paint will be covered as part of the journey.  We will discuss topics such as color, value, style, method, and more!

$123 Member/ $153 Non-Member Register by phone: 262.375.3676 or online

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Brushes

I am frequently asked about brushes. When I am teaching brushes are a fundamental component of painting but I use them in my studio rarely. I think many artists, especially those just beginning their painting journey, think that there is a perfect brush for every task. I tend to think that you can make most brushes do what you need (with a few exceptions). So I tend to not spend much time worrying about what number or hair type I have. Of course softer brushes are better for thin applications and blending, and stiff brushes are better for thick paint and texture. Big brushes are better for washes and small ones are better for detail. But I can get a filbert and a round to make pretty much the same marks, and a flat brush makes great lines. So there is a lot of overlap. You don’t need dozens of brushes. But maybe that’s just me. I work mostly with knives anyway. When I do use a brush, my all purpose favorite is a medium soft synthetic flat. Here are a few examples of my most used brushes (when I use brushes at all).