WORKSHOPS

The Grand Junction Brush and Palette Club offers one and two-day workshops throughout the club year. Local artists teach a variety of skills including, composition, technique with varied media. Everyone is welcome. Costs vary. Members receive a discount. Check back often for updates.

May 20, Janice Kiehl, gourd painting

Reach out for inspiration and learn something new, how to create beautiful art on Nature’s Canvas: a hard shelled gourd. Unlike their fall cousins, the soft shelled ornamental gourds, hard shelled gourds, once dehydrated properly, develop a wood-like outer shell. This surface can be painted, spray painted, dyed with ink dyes, colored with markers and colored pencils, wood burned, and drilled and cut into different shapes with a jigsaw. There are over 30 different varieties/shapes of gourds resulting in many opportunities to create a multitude of beautiful art pieces such as vases and bowls.

Paint/Draw at Michaels

The Brush and Palette Club has reserved the classroom at Michaels every Friday afternoon. Unfortunately, Michaels has closed their classroom until further notice to help stop the spread of covid 19.

Terrie Lombardi Workshop Notes

What does a judge look for in a painting?

  • “Composition” – stay out of the center
  • “Shapes” – shapes are unique and different
  • “Lines”  – lead you through a painting
  • “Edges”  – hard to soft; soft edges around the outside and harder in the interior and at the focal point
  • “Color”  – one color dominates, use an analogous color wheel
  • “Values”  – light to dark, enhance the focal point
  • “Texture”  – use tools in a variety of expressive ways to create texture

Order of a painting

  • Stay out of the center – mark the center of your canvas and the center of each edge as a reminder
  • What shapes – big to small
  • Values – light to dark
  • Colors – what is your mother or dominate color that you can satellite out from

Art is a process

“Drawing is a skill that must be learned . . .”

Richard SchmidI found the following quote on drawing by Richard Schmid in his book “Alla Prima.”

“There is a popular notion that artists are born with an ability to draw, but that isn’t true.  The impulse to draw is there, but no one arrives in this world endowed with the capacity to graphically depict reality.  I have never known a painter who was just naturally good at it and could do it without serious training.  Drawing is a skill that must be learned, but it isn’t like swimming or riding a bike.  Once you get the knack of it, you can’t relax and just let it happen by itself.  It takes constant practice and presence of mind.  Why?  Because it is not a physical skill; it is a mental discipline.  It deals with continual variables rather than the repitition of memorized shapes.  I always have the fond hope that someday it will get easier, but it never does.  Sound drawing always demands great care right down to the last dab of paint.

“For most of us “drawing” brings to mind an outline of something.  This deeply ingrained assumption originates in childhood when we learned to use lines to make pictures.  Yet in real life there are no lines around things.  Line drawing is only a representation or diagram of our visual world.  Painting, on the other hand (the kind I am dealing with here) attempts to create an illusion of that world.  Consequently, when I use the word “drawing,” I mean the size, shape and arrangement of all the patches of colors that collectively make things look the way they do (and which also constitutes a painting).  When you render those patches their right size, the right shape, and with their distinctive edges and color, your painting will look like your subject.  If you don’t, it won’t.  It will look different.”

“Drawing is simply measuring. As it applies to direct painting from life, drawing comes down to nothing more than figuring out the width and height of color shapes and then fitting them together.  Still, drawing remains difficult for nearly everyone, which is odd when you think about it because drawing is the only visual element we work with that seems to deal with a measurable and definable aspect of the visual world.  The other three elements:  color, value and edges, are relative qualities with generous room for interpretation.  Drawing is about specific dimensions.”

Nancy’s Post:  Jac Kephart Workshop

Nancy’s Post: Jac Kephart Workshop

Jac Kephart provided a two day workshop over January 23 and 24 to a packed gallery of 18 eager participants (sponsored by the Grand Junction Brush & Palette Group). As Bob Martin said, “He is one of the most benevolent artists I have encountered,” and never were words more true. Jac taught, shared information and knowledge, critiqued others’ efforts, and was an all around wonderful presence over the two days. Lucky were we who enjoyed and benefited from his teaching. Jac inspires creativity.

His workshops take participants from traditional still-life drawing to experimenting with paint, pastel, metallic papers, found objects and even tar. His career has been a progression from abstraction to traditional landscape painting, and a return to abstraction and a search for the ultimate creation.

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Below are a few pictures from the workshop.

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VEGAS MARS by Jac Kephart displayed at the Wubben Sciences Center, CMU, Grand Junction

 

Claudia Crowell and her chalks

 

 



Above picture is that of Mark Chioni who shared his techniques of macro photography.  Mark uses Jac’s works, among other beauty seen if one is open to looking for wonder, and photographs macro images, choosing most pleasing compositions of shadow and light for his work. Mark’s work can be seen at REDEDGEART. (Also look at FRONTIERGATES).


Lee Golter also shared his expertise of macro photography and picture manipulation.  I failed to have my camera when Lee presented, but hope to share some of his work in a future post.