Wednesday, January 28, 2015

Workshop full! Another workshop date added

"Painting the Figure from Life" on April 17 in Vancouver, BC filled fast.  Thank you to all who signed up.
The FCA has added another date for this workshop so that those who didn't get in on the registration would still be able to join me for a great day of figure painting.

The new date is Monday, April 20 and the location is Richmond, BC.
For more information and to register, please go to the FCA education page.
I hope to see you there.

Wednesday, January 21, 2015

2 New FCA workshops in Vancouver

I love Vancouver in the springtime, so I'm happy to be heading there to teach 2 workshops in April. Hosted by the Federation of Canadian Artists, these will be a one-day figure painting workshop and a 2-day still life workshop.  Both will be from life so I know that my students and I will have a grand time.  
The descriptions are below, including an amazing quote by Cezanne (that man was a quotable painter), and you can register through the FCA website.  I hope you'll join me for some great paint and balmy weather!

Painting the Clothed Figure from life Friday, April 17

The head bone connects to the knee bone? It does in this dynamic figure painting workshop. Working from a clothed model, students will learn about the amazing and powerful connections that link the body together in a graceful gesture. Discover the liberating fact that you can throw away pencils and grids, and capture the most complex poses accurately with only a brush and a squint. Using group demonstrations and individual instruction, Ingrid will help participants solve the mysteries of flesh tones, body proportion, and light temperature. Be prepared to work intensively, but leave energized with a new confidence in your ability to paint the human figure.

  The Joys of Still LifeApril 18 and 19

"The day is coming when a single carrot, freshly observed, will set off a revolution." -Cezanne

Explore the timeless genre of still life and discover its unique ability to improve your painting skills no matter what the subject. Unlike other genres, still life allows painters to isolate and manipulate the elements of picture making in an unhurried, thoughtful way. In this workshop students will learn to set up and paint a satisfying, contemporary still life; from composition to colour and paint application, from logical and methodical to intuitive and abstract. Spend the weekend taking risks, loosening up, exploring colour and pushing your brush to its limits.

*These workshops are appropriate for intermediate to advanced oil and acrylic painters.  I'll demo in oils. 

Friday, January 9, 2015

Go big or go home

Three at the Beach
48 x 60
This is the largest painting I've attempted to date.  It's been a work in progress for the past several months and has many, many layers.  The photo doesn't show it to its best advantage because it's darned hard to avoid any glare across such a broad expanse of canvas, and, after too much effort, I gave up.  The boy on the left is actually darker than shown.

But enough about camera stuff.  This piece required me to use a medium that I became familiar with in Alex Kanevsky's workshop last year: Liquin.  It's a quick dry medium used to extend paint.  It makes a tough, flexible film and it's what Alex uses to create the multi-layered work that he's famous for.  I don't know if it would be possible to use my usual medium of oil and OMS to create such a large number of layers safely; I'd be worried that the paint would crack.

It was great to be able to apply a layer of paint, and find it dry in one or two days.  That allowed me to stay interested in the painting in a way that would have been difficult if I had to wait for the usual 10 days or more for drying.

The downside of Liquin is its smell.  A bit like rubber cement or some other heady chemical, it did make my head spin if the studio door wasn't open while I worked.  It also destroyed a few brushes along the way as it seems impossible to totally clean it out of the bristles.  Some nice hogs' hair brushes are now decorative sticks thanks to Liquin.

The figures in the painting came from photos that I took at the beach last summer.  I liked the meandering, diffident feel to the poses of the figures on the right juxtaposed with the intensity of the boy on the left.  He seemed to contain a lot of energy in his small body and it was all focused on something at his feet; the water lapping?  A minnow?  The suction of the wet sand?  Everything's interesting when you're young, on summer vacation, and the sunshine is warm on your skin.

Happy painting!