This is a wonderful class to learn the basics of watercolor and drawing and advance to more complicated watercolors. Gain knowledge of the richness of warm and cool colors, understand the nature of their relationship, and learn how opaque and transparent colors work together.

Begin with simple studies and advance to still life, landscape, and portrait. Instruction includes lots of individual help.

The goal of this 10-week course is to sharpen drawing ability and technique. Students will be guided through completing a single drawing from a reproduction in the Charles Bargue Drawing Course. The process will take students from the straight line block in to the end stages and subtle finishing. Occasional class exercises will allow students to practice using a variety of tools and techniques. This course is an excellent precursor to sight-size cast drawing and appropriate for all skill levels. Copies will be completed in pencil. Please bring a large 18" x 24" drawing board, HB pencil, and kneaded eraser to first class.

Students begin by drawing a plaster cast or still life in charcoal, developing their ability to render accurate proportions and value relationships. As students progress, they are introduced to the fundamentals of oil and/or pastel techniques, composition and color.

Students begin by drawing a plaster cast or still life in charcoal, developing their ability to render accurate proportions and value relationships. As students progress, they are introduced to the fundamentals of oil and/or pastel techniques, composition and color.

Stuart Loughridge will lecture on the etching process and then demonstrate the printing process: handling the paper, inking the plate and printing the plate. This lecture is an introduction to etching but also offers insights into the history of printmaking, how printmaking influences a body of work, and how printmaking can generate income. Questions will be encouraged throughout the lecture.

Using a 21-inch skeletal armature, you will apply clay muscles to match the grey anatomical cast. Each muscle is applied in the order which is indicated on three lists provided.

List 1: the lower and upper leg.
List 2: the torso, upper arm, lower arm and the hand.
List 3: the neck and head.

The lists were designed to be used in conjunction with the anatomy book Anatomy for Artists by Eliot Goldfinger.

This class is an excellent study for the artist who is inspired by the human form. Each student will apply clay to the bone-tinted armature to gain a complete understanding of the relationship between muscle and bone. You will also learn important skeleton landmarks as well as the origin and insertions of the muscles and tendons. The finished sculpture will look like the clay muscle image.

Resin skeletal armature provided and included in the price of the class.

Additional materials required: Two 2-pound blocks of Chavant NSP Medium brown clay, $26. Chavant clay can be also be purchased online.

How DO they do that?! Are you uncertain, or do you have questions about how to create a picture of things that don’t exist? This could be a posthumous portrait, a picture of something historical, or something completely fictional. You know you need references but don’t know what to do. In this workshop, we’ll share information, tips, and tricks about how to know what kind and how much reference you need, pictorial as well as legal considerations, what kind of reference is available to artists, and ways to shoot your own reference by either working with a photographer who has the ideal gear, or using what you have available if you have budget and/or time constraints. Come with questions! On Friday there will be a presentation and demonstration at The Atelier. For attendees taking the full workshop, please come with rough sketches. Please be prepared to stay past 4PM so we may talk with you about your sketches so you have an idea of what you'll need to prepare for the rest of the workshop. Please consider these things: any special clothing or costuming you may need; what is the setting, time of day, indoor or outdoor lighting; props that may be needed to fill in your sketch. If need be, you are welcome to bring a friend or hire your own model for the photo studio portion of the workshop, otherwise we will rely on fellow attendees or yourself to model for photo reference. On Saturday and Sunday, the hands-on portion will be at David's photography studio. During the hands-on portion, attendees will get to capture reference based on their sketches.

How DO they do that?! Are you uncertain, or do you have questions about how to create a picture of things that don’t exist? This could be a posthumous portrait, a picture of something historical, or something completely fictional. You know you need references but don’t know what to do. In this workshop, we’ll share information, tips, and tricks about how to know what kind and how much reference you need, pictorial as well as legal considerations, what kind of reference is available to artists, and ways to shoot your own reference by either working with a photographer who has the ideal gear, or using what you have available if you have budget and/or time constraints. Come with questions! On Friday there will be a presentation and demonstration at The Atelier.