WORKSHOPS
PAINTING THE CASSICAL FIGURE - OBAN
The Rockfield Centre, Rockfield Rd, Taylor's Brae, Oban PA34 5DQ
17th, 18th 19th of May
10AM-4PM
PAINTING THE CLASSICAL FIGURE
With the Michael J. Doherty & the Scottish Scottish School of Classical Art
Three Days 10AM - 4PM
May 25th-27th
The Scottish School of Classical Art
The Scottish School of Classical Art is pleased to offer an intensive three-day course on the techniques of classical painting. This course is designed to provide students with a comprehensive understanding of the methods used by the most brilliant painters of the Renaissance and beyond, with a focus on replicating the works of old masters.
The course begins with a technical demonstration of color mixing, imprimatura preparation, palette organization, and medium preparation. This serves as a foundation for the subsequent lectures and workshops, which will cover a range of topics including master drawing techniques, tracing and copying, and the study of lighting situations and how they reveal form. Additionally, students will learn about brushstrokes, blending, media use, palette preparation, and painting posture, as well as value scales.
Throughout the course, students will spend a significant amount of time working on their own paintings, replicating the techniques they have learned in class. Through this hands-on approach, students will gain a deeper understanding of the principles of classical painting and be able to apply them in their own work.
Throughout the course, there will be opportunities for students to discuss and critique each other's work, providing them with valuable feedback and furthering their understanding of the techniques and methods being taught.
By the end of the course, students will have learned the essential points of figure painting and will have produced a believable, visual impression of the figure in real space, rendered in paint with traditional methods. This course is ideal for artists and painters who wish to improve their skills and deepen their understanding of classical painting techniques.
MATERIALS LIST
1 HB Pencil
1 sharpener
Sheet of tracing paper, A4 size.
One 10x12 canvas board.
75ml Bottle of Windsor Newton Liquin
One tube of Burnt Umber or Raw Umber acrylic paint, black acrylic paint, white (any brand, any quality, small size)
Small bottle of odourless solvents.
Oil Paints - Daler Rowney Georgian Oil Colours or Windsor Newton Oil Colour (must include Oxide Light Red, raw Umber, Burnt Umber, Alizarin Crimson, Cadmium Red, Ivory black, Yellow ochre, Titanium White, Ultramarine Blue) 75ml/37ml
1 pack of baby wipes
One pad of paper tear-away palettes (or if you prefer a plastic/wooden palette, just remember to keep it clean)
Artist brushes of good quality or long handled cat's tongue brushes sizes 2-12.
(Long handle if possible)
https://www.rosemaryandco.com/watercolour-brushes/golden-synthetic/filbert-cats-tongue
NARRATIVE SELF POTRAIT PAINTING
With Mel Calabria
JULY 3RD, 4TH AND 5TH 2023
9.30AM - 4.30PM
This course offers an in-depth examination of the painting philosophy and techniques of Argentinian painter Melisa Calabria. As a student of the renowned artists Ricardo Celma and Odd Nerdrum, Calabria places significant emphasis on causality in her narrative works, characterized by a dreamlike atmosphere of longing and melancholic undertones. Throughout the course, students will have the opportunity to learn and apply the methods of the Nerdrum school, including the preparation of traditional canvas grounds, as well as the step-by-step process of painting self-portraits from life.
The course begins with the development of compositional sketches, as students are encouraged to incorporate elements of narrative into their work. Through hands-on practical instruction in the use of oils, as well as philosophical discussion addressing the motivations and expressions of painters, students will gain a comprehensive understanding of Calabria's artistic approach. This course aims to provide a unique and holistic learning experience for students interested in exploring the intersection of technical skill and creative philosophy in contemporary painting.
Spanning over a period of 3 days and comprising of a total of 18 instructed hours. Classes will be held daily from 9:30 AM to 4:30 PM, with a lunch break from 12:30 PM to 1:30 PM. The instructor for the course will be Melisa Calabria and the course will be conducted in English. The course is limited to a maximum of 8 students.
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A WEEKEND WITH THE OLD MASTERS: WILLIAM-ADOLPHE BOUGUEREAU
2023 17th & 18th of June, 9am - 12pm, 1pm - 4pm
The Scottish School of Classical Art
£200
A weekend workshop with the Scottish School of Classical Art.
Learn the secrets of one of the most brilliant painters of the 19th century - through recreating his works!
Bouguereau, who was possibly the champion of representational painting and drawing during his life, mesmerises generations of new artists since the 19th century. His classically inspired works featuring peasant girls, Nymphs, and ancient fantasy figures are painted virtuosically, his true mastery of rendering skin gives the illusion of luminous flesh.
Over two days, you will be given lectures and demonstrations, followed by the chance to try his methods in your own works, using from a high quality print for reference. Students will work from sections of his pieces - portraits give the students the chance to exercise their newly learned techniques in a variety of impressive ways.
Mastercopy is a cornerstone of study in classical painting. You will recreate a work from William Adolphe-Bouguereau, in a similar fashion to the original, with instruction from one of our instructors at the Scottish School of Classical art. This will equip you with the knowledge and confidence to produce your own original works.
WORSHOP CONTENTS
DAY ONE:
PICTORIAL LIGHT
Basic concepts behind his works.
IDEALISATION
Common themes in his works.
UNDERPAINTING
A tonal layer with solvents, a warm base for subsequent layers.
DAY TWO:
HUE, CHROMA AND VALUE - A MASTERS GUIDE
The techniques at play.
OPAQUE PALETTE STRUCTURE
Structuring a first stage palette for your master-copy.
FIRST STAGE PAINTING
An initial layer of opaque paint.
SECOND STAGE PAINTING
A resolved pass in opaque paint across the surface.
MATERIALS LIST
1 HB Pencil
1 sharpener
Sheet of tracing paper, A4 size.
One 10x12 canvas board.
75ml Bottle of Windsor Newton Liquin
One tube of Burnt Umber or Raw Umber acrylic paint, black acrylic paint, white (any brand, any quality, small size)
Small bottle of odourless solvents.
Oil Paints - Daler Rowney Georgian Oil Colours or Windsor Newton Oil Colour (must include Oxide Light Red, raw Umber, Burnt Umber, Alizarin Crimson, Cadmium Red, Ivory black, Yellow ochre, Titanium White, Ultramarine Blue) 75ml/37ml
1 pack of baby wipes
One pad of paper tear-away palettes (or if you prefer a plastic/wooden palette, just remember to keep it clean)
Artist brushes of good quality or long handled cat's tongue brushes sizes 2-12.
(Long handle if possible)
https://www.rosemaryandco.com/watercolour-brushes/golden-synthetic/filbert-cats-tongue
THE FANTASTIC WORK OF FRANK FRAZETTA: A WEEKEND WORKSHOP
£200
The Scottish School of Classical Art - 2023, July 15th & 16th 10AM-12PM 1PM-3PM
For over 50 years, Frank Frazetta dominated the art world with his images of fierce warriors, helpless princesses, and fantastical creatures set in the most lavish landscapes. His impact upon the worlds of fantasy art and film was unparalleled, and it can be seen to this day in the "Lord of the Rings" trilogy. Amazingly, he managed to do this while nearly dying because of an undiagnosed thyroid condition. Even more astonishing was his ability to survive six strokes, which forced him to switch from drawing with his right hand to drawing with his left hand. This weekend documents the life and work of this legendary fantasy artist while exploring the universal theme of inspiration. Presentations and studies, made with instruction from SSCA, bring his paintings to life.
DAY ONE:
Basic concepts.
PAINTING WITH FIRE
Themes in his works.
UNDERPAINTING
A tonal layer with solvents, a warm base for subsequent layers.
DAY TWO:
HUE, CHROMA AND VALUE
The techniques at play.
OPAQUE PALETTE STRUCTURE
Structuring a first stage palette for your master-copy.
FIRST STAGE PAINTING
An initial layer of opaque paint.
SECOND STAGE PAINTING
A resolved pass in opaque paint across the surface.
MATERIALS LIST
1 HB Pencil
1 sharpener
Sheet of tracing paper, A4 size.
One 10x12 canvas board.
75ml Bottle of Windsor Newton Liquin
One tube of Burnt Umber or Raw Umber acrylic paint, black acrylic paint, white (any brand, any quality, small size)
Small bottle of odourless solvents.
Oil Paints - Daler Rowney Georgian Oil Colours or Windsor Newton Oil Colour (must include Oxide Light Red, raw Umber, Burnt Umber, Alizarin Crimson, Cadmium Red, Ivory black, Yellow ochre, Titanium White, Ultramarine Blue) 75ml/37ml
1 pack of baby wipes
One pad of paper tear-away palettes (or if you prefer a plastic/wooden palette, just remember to keep it clean)
Artist brushes of good quality or long handled cat's tongue brushes sizes 2-12.
(Long handle if possible)
https://www.rosemaryandco.com/watercolour-brushes/golden-synthetic/filbert-cats-tongue
MATERIALS LIST
1 HB Pencil
1 sharpener
Sheet of tracing paper, A4 size.
One 10x12 canvas board.
75ml Bottle of Windsor Newton Liquin
One tube of Burnt Umber or Raw Umber acrylic paint, black acrylic paint, white (any brand, any quality, small size)
Small bottle of odourless solvents.
Oil Paints - Daler Rowney Georgian Oil Colours or Windsor Newton Oil Colour (must include Oxide Light Red, raw Umber, Burnt Umber, Alizarin Crimson, Cadmium Red, Ivory black, Yellow ochre, Titanium White, Ultramarine Blue) 75ml/37ml
1 pack of baby wipes
One pad of paper tear-away palettes (or if you prefer a plastic/wooden palette, just remember to keep it clean)
Artist brushes of good quality or long handled cat's tongue brushes sizes 2-12.
(Long handle if possible)
https://www.rosemaryandco.com/watercolour-brushes/golden-synthetic/filbert-cats-tongue
DISCLAIMER
No refunds can be made once the student has paid the tuition fees and committed to the course, unless provided with a doctor’s note to state medical issues or special circumstances.