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Article 4

May 20, 2012, 5:15 am
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Just wrote this to Jay Varma, who is having some post-Incamminati success (for his most excellent drawings)......and was feeling a little squeemish about it:

OF COURSE YOU DESERVE THE RESPECT!!!!! AND THE PRAISE! so you have some fans, just get back to work....that's all. That's the secret to success....celebrate it, and then......g e t   b a c k   t o   w o r k!!!  That's how you earn success, and praise!


I have to get off the computer now, and get outside to some peonies that I have to paint for a commission, so I can earn the success I deserve....(and the $$$$!!!)
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Welcome Back!!!

May 20, 2012, 4:13 pm
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The International Portrait Society Conference and Competition is about to land in Philadelphia......and so is Snehal (Snae-hal) Page (Pah-gee)! She received a Certificate of Excellence for her painting, “Voluntary Simplicity”.




Snehal grew up in Puni, India and came to Incamminati about 2 ½-3 years ago. She told me once that the first thing that she learned here at Inc. was…h u m i l i t y.  A wonderful way to start her schooling here, and her career.

Humility...hmmm....makes me think of the other Incamminatite that got in to the PSOA competition....Stephen (Steve) Early......with his portrait "I Wanna Be Adored"....Interesting commentary on humility as well....



Interesting topic here.....just now seeing the parallel of the two paintings....must be the energy drink that I am imbibing...

Reminds me of one of the first few weeks when we were just starting out here at school in 2002.  The class, which included Kerry Dunn, Natalie Italiano, Steve (Stephen) Early, and myself, were all drawing in charcoal, in the classroom that later got dubbed "The Den".  A friend of Nelson's telephoned in on the front desk landline (!), where he picked up.  Quite obviously, because of how he answered, the person must have asked how it was going, because this is how Nelson responded to the question: "They're (us) getting humble."

Then there is the opposite.....humiliation....a few of us (OK...me!) used to hide in the back hallway, whenever N. came into the classroom for his regular drive-by crits....took me years at Incamminati to really get some authentic confidence and "braveurism*".  Jon de Martin once told me that you get real confidence in oneself when you start having consistent successes.

Got humility?  Ya gotta have it!

*Madame Morrible from the Broadway musical, "....., never mind, if you don't have a clue who that is, then just google it!  I'm supposed to be blogging about painting....not art!!??!!  (real-leee???)

Gotta get going....my house is a mess, and Snehal is staying here!
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Color Study Monday

September 25, 2012, 3:26 pm
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The new school year is three weeks fresh with students returning to welcome a large incoming class!  Below are 1 1/2 hour color studies from JaFang Lu's Level II class.  


Barbara Zanelli

Carolyn Gabbe


Chris Nixon

Daryl Burkhard

Judith St. Ledger-Roty
                                                    
Mary Orr
                                     
Mitsuno Reedy

Shira Friedman

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Long Pose

October 7, 2012, 6:56 am
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As Level 1 concentrates on quick gesture poses, I stop in to see how the upper levels are progressing with their long poses.  The Level 3 bunch are in the middle of a three week pose, using a limited palette of cadmium red, cadmium yellow, ultramarine blue, black and white. Their model is illuminated with artificial light while in the adjacent north-light studio, it is exciting to see the Level 4 group using different mediums and seeing the different stages of the painting.  Josh Breslin is blocking-in the grisaille setting the stage for a full color expression as can be seen in Fellow Lea Wight's painting.  Fellow Alisyn Blake's drawing focuses more on subtle value changes as Fellow Rob Goodman"s drawing searches for linear expression of the forms. 

I enjoy seeing artwork in the early and middle stages because it accesses the thoughts of the artists.  What do you find helpful when you see studies in theses stages?

Rachel Pierson

Judith St. Ledger-Roty

Mary Orr

Noelle Wister

Dan Mahlman

Barbara Moquin          

Josh Breslin
Lea Wight
Christina Rose



Sakiko Shinkai
Monica Bean

Rob Goodman
Alisyn Blake



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Cast Drawing

November 13, 2012, 4:33 pm
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Midway through the semester, let's check in on Darren Kingsley's cast drawing class.  I've included Darren's drawing as well.  Can't wait to see them at the end of the semester.
Instructor Darren Kingsley
Barbara Zanelli

Chris Nixon



Grace Jackson

Mitsuno Reedy

Monica Bean

Shira Friedman

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Winter Workshops January 2013

December 16, 2012, 2:40 pm
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Stephen Early
Looking for a good still life or figure workshop?  Let me recommend three excellent ones coming next month hosted at Studio Incamminati.  Steve Early and Darren Kingsley will co-instruct 'Form Painting with the Figure' and JaFang Lu will teach 'Color and Form: Still Life' both January 21st-25th.  If you aren't free during the week, yet still crave a workshop Daniel Sprick will instruct 'Drawing and Painting' the 26th and 27th.

I've taken both Steve/Darren's and JaFang's workshops and they are chalked full of applicable knowledge.  All three clearly teach the concepts first with instructor demonstrations.  I know if you have seen any of the instructors paint you leave as inspired as I do.  Then they will personally instruct you at your easel meeting you at your skill level and guide you to clearer understanding.  From the form painting workshop I remember focusing on arranging flat shapes of value into a three dimensional illusion of cascading light over the human form.  In JaFang's class, she mainly taught me how to see color relationships.  "'Is it lighter or darker?' and 'Is it cooler or warmer?'", are two questions I still ask myself when it comes to color.  This year I'm thrilled to monitor Daniel Sprick's workshop.  How does drawing and painting inform and relate to another?  I can't wait to find out!


Click below for more information about the workshops:
Daniel Sprick

JaFang Lu











See the instructors' work:


  
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Demo at the National Art Club

January 15, 2013, 5:21 pm
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This past Friday, I participated in a group demonstration for Studio Incamminati at the National Art's Club in NYC. This demo was part of the show "The Artists of Studio Incamminati Exhibit" by the Founders, Instructors and Alumni. I joined instructors Leona Shanks, Lea Wight, Alisyn Blake, Peter Kelsey and Joe Dolderer. Leona and Joe demoed a color study approach, while Lea and Peter painted the model in full color. Alisyn demonstrated charcoal first and open grissaile second. I demonstrated 'duo tone' or closed grissaile. A good number of people braved the wet and cold weather, contributing to an interactive discussion between the audience and the demonstrating artists.  To our luck, we had a wonderful model, who sat so still it was like painting a still life.  Great painting with great artists and friends!

Some of the art
That's my pumkin
"Let's grab a seat"
The guys starting out their portraits
Leona blocking-in her grisaille for wonderful colors soon to come
Look at them knock out the early stages!
Lea and Alisyn's awesome paintings
Joe's, Peter's and Jason's paintings with Leona cleaning her palatte
Under watchful guise
Shot of the artists with Nelson after the finish.  Let's grab some drinks!



Here's a link for The Epoch Times' coverage of the event: click here
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End of the Semester Level 2 Cast Drawings

January 21, 2013, 4:53 pm
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So it's the end of the first semester for the Professional Program, and as promised we are checking in to see how Level Two finished up on their cast drawings.  Well, I am thoroughly impressed with everybody's work.  Great job you guys!

Barbara Zanelli

Carolyn Gabbe

Instructor Darren Kingsley

Daryl Burkhard

Grace Jackson

Mitsuno Reedy

Monica Bean

Shira Friedman

Chris Nixon

Thanks, Carolyn for the pictures!






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Winter Still Life Workshop

January 29, 2013, 2:20 pm
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I recently finished teaching a one-week still life workshop to a group of talented, eager and enthusiastic artists with varying degree of experience.  The workshop is basically a crash course of cramming 2 years of information into five days.  I had set goals for workshop participants.  They had also come with their own expectations.  We met in the middle ground.  Students worked diligently in incorporating what they learned in the workshop with their past training.  I can't praise them, as well as many students in my other classes and workshops, enough for being patiently learning, sorting through and working out the differences between my teaching and their own ways of working.  At the end, they have all made tremendous progress over the period of 5 days.       

The two main goals I set for them were “establishing overall value/color relationships for the painting in its initial stage” and “breaking down the established value/color relationships into smaller ones”.  The key words being “relationship” and "organization". 

Here are a couple examples of their work.  They were the best images I could take with my point and shoot camera under the incandescent light in the studio.  Unfortunately, the images are not showing as correct and  as much information as I'd like.  The paintings range from 3 hours to 3 days.  I'll update and add more images as I receive better and other examples of their work done during the workshop from students.

Alex
Alex became sick as a dog in the last day and half of the workshop.

Dale
Dale's epiphany - Paint the major color shapes as "big and flat notes of color" regardless of the material (glass or fabric) in the initial stage of the painting. 

Kym
Kym painting round objects with well calibrated color and value notes.

Melody
 Melody keeping the value relationship in check so all the elements in the painting can sing in harmony.

Patrice
Patrice pushing her painting further while keeping development of information/detail in the proper hierarchy.


Robin
Robin knows that this painting says it all.  She did a wonderful job on it.  I do need a better image (as with all the others images I have here)!

Suzanne

Suzanne does absolutely beautiful paintings on fabric (velvet?).  Oil painting on canvas presents different challenges.  In the beginning of the workshop, she handled the paint carefully.  In the second half of the workshop, she freed herself up to fully explore the characteristics of the medium.  Results are good paint handling combined with beautifully related color/value relationships.   

Tim
I wonder if Tim took his frustration out in the selection and arrangement of his painting of "The Cast Iron Frying Pan"?!  He painted the rust on the pan beautifully. 




Forcing a smile out of Andy, our education coordinator, proved to be the hardest task I undertook during the workshop.







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Daniel Sprick Workshop

February 4, 2013, 7:55 pm
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Good Tuesday afternoon! Last week I attended Daniel Sprick's weekend workshop. Two days is not enough time with such a talented artist and teacher like Dan. But I'll take what I can get. Saturday, he demoed the portrait the entire day! What a gift, and yours truly took a boat load of notes. Here are a few of them:

- "Starts painting with vine charcoal linear drawing. Focused on composition and establishing the big shapes."

- "Explains the light on the form, direction and most brightest area. Illustrates the light on the most simple spherical form of the head. Emphasizes the edges based on core shadow and cast shadow."

- "Squinting a lot. Trying to have minimal accurate lines. Looking for harmony, and which lines he can unify."

- "Starts the color notes with the shadow first. Spends a lot of time cooling the shadow because of the 'hot' light."

- "Make a large batch of paint for the light notes. This value will be close to the final overall value. Starts laying in on the areas receiving the most light. Then he works the half tones by mixing the shadow color with the light color. Focusing attention on soft edge transitions (core shadow)."

- "Talks about seeing the human forms as basic forms (i.e. cylinder, rectangle) to understand how the travels, especially as the light transitions into the shadows."

- "Tools of the artist : 1. Edges (soft vs. hard) 2. Values 3. Temperature of color.

- "Establish the interlocking shapes of light and shadow while working the edges and halftones. The lights are mostly one mid-tone value. Starts modeling the light forms by noting the variety."

- "Dan points out that squinting is a good way to eliminate the detail. This is helpful when confused about what to do next."

- "Before moving onto color changes establish the value relationships, then come back to the area and change color in the same value."

- "Starts placing the dark accents 4 hrs. into the painting."

-"Still squint even while working detail"

Some great quotes from the weekend:

"It's like rowing across the Atlantic Ocean with two little paddles." A workshopper's commentary on Dan's brushes."

"Painting is a systematically controlled panic."

"Paint what you see when you squint."

"What will be the most effective decision to progress the painting?"


Here are some photos














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Alla Prima Demo

February 20, 2013, 8:22 pm
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If you are like me then you probably love seeing other artists' demonstrations.  I especially enjoy trying to figure out what the artist is thinking about during the process of building a painting.  When working with a long pose or even spending multiple sessions with the same still life requires planning.  This is a muscle that I appreciate and am currently developing, but I also enjoy paintings that are completed in one sitting a.k.a.alla prima.  I remember one of my teachers saying, "Know what stage you are in and focus on getting the most out of that stage before moving on to the next one."  I find this discipline very challenging, but rewarding when I take the extra time to get it right.  Enjoy!



I've never painted on an oval format, but I thought it would be a nice element for the amaryllises.  I first started the grissaille focusing on the over all relationships of the shapes with a loose envelope, keeping in mind my focal point.  I didn't want the stem cutting right through the vertical center so I pushed it slightly to the right.

This is about an hour into the painting and I am focusing on angles, especially extending the lines and how they intersect with other shapes.  I am thinking about the gesture of the flowers, how they are moving and extending from the stem.  I am just as concerned with the abstract negative shapes as I am with the flower shapes.  I am also starting to separate light shapes from the shadow shapes.  I move the paint around until the shapes lock into place.

Keeping in mind how much daylight I have left I am content with my shapes so I  push into color.  I start with the easiest color to see which for this situation was the blue color on the amaryllis in the background.  Because I am seeing so many colors I edit what I see by asking myself, "What is the overall color in this area?"


I continue to spread my colors out to cover the entire canvas.  I am starting to think about the form of the flower, and not just about abstract shapes (i.e. "Which shapes or closer or further from me?").  In addition I am trying to reach my complete value range of colors.  Because of the whiteness of the flowers I am pushing more tinted pinks, purples and blues into the light masses...but not at the expense of value.  I am also finding variety with the yellow and greens of the stems.

Ok, it's make it or break it time.  I have about an hour and a half to express the forms of the flower.  I start to caress the paint over the forms, like I was an ant walking over the individual forms.  For me this is what I work for.  I love modeling forms, and tweaking value relationships.  I start softening and sharpening edges and trying to discover the variety.  I pay particular attention to form and cast shadows.  I am seeking harmony in the masses. 



Time is up!  Now I have to find an app that crops oval formats.

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New Faces Exhibit Starting March 1st at the Artist's House

February 22, 2013, 6:10 pm
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Greetings fellow art lovers!  We are beginning the last week of February, which means next Friday is first Friday.  What is First Friday you ask? Good question.  Many Philadelphia art galleries stay open later on the first Friday of the month, hence the name First Friday.  Next Friday kicks off a new exhibit at the Artist's House gallery in historic Old City featuring Caroline Weitzman and Portrait Society of America award winning, Kerry Dunn; both Studio Incamminati alumni.  Both are amazing artists in each genre; Caroline captures unique still lifes in vivid and beautiful color combinations, and Kerry, along with capturing an uncanny likeness of the sitter, also communicates their emotions and attitudes.  I can't wait to see the show next Friday and enjoy their artwork with them and with you.  Below are a few of my favorites.  At the very bottom will be links to their websites and the gallery's website.  See you there.



Caroline's work


Beautiful! One of my favorites of Caroline's


 I love Caroline's choice of  diagonal stripes.


Look at this awesome color block setup Caroline painted.  We 'peep' your creativity!.


Kerry's work


Kerry's White Roses.  Simply gorgeous!

Breathtaking painting from Mr. Dunn!
I don't believe this painting will be at the show, but I had to include it because it has always been one of my favorites.  What great attitude he captured!





Artist's House Gallery is located at 57 North Second Street, Philadelphia, PA




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Year of the Woman

April 3, 2013, 7:55 pm
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The Artist's House Gallery's current exhibit features artwork of women by women artists.  Lea Colie Wight and JaFang Lu are both Studio Incamminati alumni and two of their finest teachers, and are featured in this exhibit which is currently running through April 28th.  First Friday is upon us, so be sure to stop in to view their work along with many others; it looks like a big show with many excellent works!  Friday can't come soon enough; see you there!

Year of the Woman Exhibit at Artist's House

Lea Colie Wight

JaFang Lu

This is one of JaFang's portraits that will be at the show.  I've always been a fan of this painting ever since I saw her paint it a few years back.  Great knit hat.
This drawing is by JaFang, but will not be included at Artist's House.  I included it because of how successful JaFang is with capturing the texture of the sun-aging skin and the simple shadow shapes.


This might be the first painting I ever saw of Lea's.  I've always loved it.  Great composition and pleasing harmonious colors.
One of my favorites from Lea!  The light pouring through the green window cascading onto the boats is hauntingly beautiful.





This painting by Lea is at the show...I love the story Lea is telling with this one.  The crossed arms fits right in with the pho hawk and leather jacket.  Rock and roll!





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It's all about seeing

May 30, 2013, 9:10 am
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A Quiet Time

July 2, 2013, 12:57 pm
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Our intern, Rebecca Horovitz, roamed the empty studios in the time between the regular school year and our summer workshops. It offered a chance for some intriguing photos - and a touch of poetry:


The halls of Studio Incamminati are devoid of students. The light is white and lonely.

Despite being surrounded by people outside, the building is quiet, not solemn, but respectful of the noise and rebellious in it's lack of it. Even looking out over the city I feel above the tallest buildings.


 Through into the studio the cold air differs from the outside squelching heat, preserving paint, canvas, and memories.

Moments before I felt I was the tallest being around, now looking at the easels I feel as an ant, in awe of their monolithic company and age. How many artists have they helped hold up with their wooden arms?




As I walk through ghosts look at me through their paintings. I look at each one and see the effort and love put into them. These pictures are not lonely without the students: They have each other, the easels, the paints, the smell of old brushes and new brush cleaner. 








As I walk through the halls I see art everywhere, and not just in the paintings.




I come across a lone artist like a tiger in a jungle of easels. The tiger sits staring at her prey, examines it, knows it, becomes one with it as she comes to understand what it means.




After watching the tigress and it's quarry I begin to head out, but I feel eyes staring at me.
A surprise! Hidden between the stacks, it lies perfect in its incompleteness; waiting for the new students to come and the old ones to return. It lies half out of its home, eager, and knowing that it is nearly time to begin once again.

Leaving whence I entered the monoliths line up and wish me goodbye, their creaking telling me they anticipating the new paint that will be splashed across them as they hold their cloth idols.


Studio Incamminati is waking up
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Apps for the Artist

July 30, 2013, 1:06 pm
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Along with your Bristle Filbert #2 and Cerulean Blue, there are some nifty technological tools that can help your artistry. Smartphone and tablet  apps can help you work your way through a difficult pose or a critical color choice. Or, simply just provide some inspiration. Some are free, some have a modest price. Most are iOS universal.

Anatomy Lab
Current Version: 1.2.3
$9.99
Delve into the body and look at muscular and bone structure
http://appshopper.com/medical/anatomylab

Poseable and Poseable Lite
Current Version: 2.0.5
$1.99 or Free for Lite
A poseable mannequin
http://appshopper.com/search/?search=poseable 

Color Wheel RYB
Current Version: 1
$.99
A Color wheel and explanation
http://appshopper.com/reference/color-wheel-ryb

Color Companion-Analyzer
Version: 1.1.1
 $1.99
Analyze, compare, find, convert, create palettes, and more. All for Colors.
http://appshopper.com/search/?search=color+companion

Art Authority
Version: 3.6.1
Cost: $4.99
Over 1000 Classical Paintings at your Finger Tips
http://appshopper.com/reference/art-authority 

Art Authority for iPad
Version: 4.8
$9.99
Over 1000 Classical Paintings at your Finger Tips
http://appshopper.com/reference/art-authority-for-ipad 

John Baldessari: In Still Life
Version:?
Cost: Free
Create your own Still Life with John Balderassi’s Works
http://appshopper.com/entertainment/john-baldessari-in-still-life-2001-2010

The Artist (Series)
Multiple Versions
$.99 Each
Versions for Renoir, Van Gogh etc
Look at classical paintings by specific artists, read a biography, and learn about their motif.
http://appshopper.com/search/?search=the+artist

Animal Anatomy
Version: 1.0
Cost: $1.99
The anatomy of over 1000 different animals.
http://appshopper.com/education/animal-anatomy

Light
Version: 2
$.99
Take a picture of your still life and then use this app to change the lighting so you can test it without actually moving all the real lights and losing what you already have.
http://appshopper.com/photography/light

Paint Pro Classic
Version: 1.2.1
$.99
Another palette app. Find colors in photos, by numbers or name, and then make your own palette.
http://appshopper.com/productivity/paint-pro-classic
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Putting art school in perspective?

August 2, 2013, 8:42 am
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Artist Lori Woodward - via Artist Daily.com - re-ignites the debate about the value of art education:

"The truth is, I learned very little of what I now know while at college. My professors did not understand or teach the basic academic principles of light, color, drawing, or edges. In one of my figure-drawing classes, I was chastised for actually drawing the model.

 Apparently, I would have gotten a better grade if I had translated the model's image into an unrecognizable abstract design. In one semester-long class, the only student who walked away with an A on her report card drew two little square boxes on a huge sheet of newsprint—I could understand this if she had drawn boxes that somehow related to the figure, but they were just a couple of poorly drawn squares."

She emphasizes she's not out to "put down the education system but to highlight the fact that we artists have opportunities to get an art education as we have never had before."

See what you think.
 
http://www.artistdaily.com/blogs/theartistslife/archive/2009/11/06/never-stop-learning.aspx
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Pen and ink drawing with Dan Thompson

August 6, 2013, 11:14 am
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Although this portion of the five-day workshop focuses on pen and ink, students also get the opportunity to learn about other traditional drawing materials including chalk, pen and metal point and pastel.




After applying a base coat of ink for a background, the students do a preliminary sketch in charcoal.




 Then, they outline and fill in the sketch with their quills and ink.


An example.




Tools of the trade.




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Art online

August 15, 2013, 10:10 am
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A sampling of information videos, websites and DVDs

Youtube 

Dick Blick

Art Tutor Online


Articles and Websites

Brushes

Short Article on brushes and hair types.
http://painting.about.com/od/artsupplies/a/BrushHairs.htm

Synthetic vs. Natural Brushes
http://emperorscodex.blogspot.com/2011/12/paint-brushes-102-synthetic-or-natural.html

Paint

History and Science of paints.

Importance of drying times for paint.

 

DVD

Color Essentials: A Painter's Guide with Lea Colie Wight

In the DVD, you’ll learn:
How to identify and draw through lines and action lines that connect the painting and improve your proportions
Tips and techniques for mixing strong colors with the right consistency and tone
How to mix and introduce new color combinations into your work
For information:
Color Essentials: A Painter's Guide

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Advanced Figure by Stephen Early

August 27, 2013, 10:50 am
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The Advanced Figure Class was separated into three sections this year due to the amount of people attending. There were three models in the room when I entered and over twenty students diligently painting.














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