Skip to main content

Come Paint with Me in Boston

 

Want to step away from reliance on reference photos and build compositions from instinct? Learn to let your subject lead the way toward a piece uniquely your own, leaning into improvisation and intuition while integrating line, shape and color?

Then join me at Slow River Studio (outside Boston) October 25-27, where I’ll be teaching my unique painting approach weaving representation with gesture, memory, imagination and color. 

Three full days of instruction include live painting, a peek at my sketchbooks/journals, slideshows and prerecorded content (some of which to be watched outside the classroom - yup, there will be homework). The course will include group presentations, lots of personalized feedback and, of course, meeting/connecting with fellow painters. I’m also packing a small stack of original paintings as supplemental examples of brushwork, color usage, and line vs shape considerations.

It doesn’t end when the workshop’s over - a post course Zoom session will help integrate workshop concepts after we return home. And in the meanwhile, there is an opt in WhatsApp group for continued sharing and growth.

So what are you waiting for? up your painting game, learn to work intuitively and to set those references aside with confidence. Create the paintings you imagine!

There’s two spots left - bring a friend and get into trouble together!

Oh, and be sure to pad your trip with a day or two at either end to take in some of the glory of New England in the fall!!

Comments

Popular posts from this blog

“Katie’s Moustache,” 6x12, pet portrait in acrylic on canvasboard, $90. Inquiries to ksantini@turtledovedesigns.com . One glimpse of Katie’s face, and I was hooked. Not only did she fall into my beloved “black & white” category, but she came with a full moustache and doe-like eyes. I first covered the canvas with a variety of blues and purples, using a (mixed) light green and pink for the highlights. (Right now my palette has been expanded to include the following: pthalo blue red, azurite hue, cad red dark, alizarine crimson, cad yellow dark, and then for graying/hazing out I use light green yellow and ultramarine purple.) I lighten with titanium white and darken with one of the blues and a touch of one of the reds. As a side note, at this time last year I was really struggling with my limited palette (I went from about 60 pots of paint to 3), but I have lived the benefits – I am so much more familiar with what I can mix given just this handful of colors. My paintings are also m...

Dear Copyright Thieves

Dear Copyright Thieves,   Just because it's on the internet doesn't mean it's free for the taking. So let's just stop pretending the internet is a free-for-all.   Don't play the card that you didn't know - that's insulting. And don't also tell me that you meant to follow up and get permission but never got a chance to. That's insulting too. And by the way, don't you have a copyright protection notice on your own site?   And don't even try and point the finger at a third party who commissioned you to make a copy of my painting - again, an insult - you and I both know the difference between a reference photo and a painting.   And don't tell me that I asked for it because I share my artwork on the internet. I share my paintings and ideas and the stories behind them so as to encourage others to pursue  their own passions . I do not share so that those lacking integrity and morals can copy and market the images as their own...

Golden Open Acrylics

I get all sorts of process oriented questions. Most recently I've been getting asked a lot about my paints and palette, which made me realize what a nice blog topic this would make! I use a Masterson Sta-Wet Premier palette box . This is comprised of a box (think Tupperware) with a sponge liner and a slice of palette paper that work together to keep my paints wet. This setup allows me to work with the same palette for about a full week, having the box open for multiple hours every day. You can see what the palette looks like at the beginning of a new session above - below the exact same palette after this week's work. For the last 25 years I have used Golden brand acrylics, mediums, and varnish. I love the overall quality of these paints and the fact that, when I have a question, their customer service department is made up of artists who actually use the products. Until last year, I used their Heavy Body paints exclusively. They have a buttery consistency, a little loose...