- February 14, 2020 - February 16, 2020
9:00 am - 4:00 pm
Studio in the Park
The main facility for the Art Guild of Louisiana is the Studio in the Park. This BREC building is located in Cedarcrest Park in Baton more…
Trish Poynot, email@example.com, 985-237-5977
This workshop is about learning new ways to paint with acrylics utilizing “secrets” Adrian has developed over the years which give a result resembling oil painting. She will be demonstrating these secret techniques—participants will then have the opportunity to experiment with employing these new techniques to incorporate into your own paintings!
It is Adrian’s desire that workshop participants use a photograph of their choosing as their painting reference. Participants may bring a couple to choose from, and she will happily help select the best one to use. For less experienced artists, Adrian strongly recommends the simplest photos with only a few elements; examples: an uncomplicated landscape/sunset, or a simple, uncluttered still life. Adrian will also bring some photos from which participants might choose to work.
Prior to getting your image onto the canvas, tone/prime your canvas either a light, warm gray (a mixture of thinned raw umber and white paint), or the background color of your choice—students will not paint directly onto a white, gesso-covered canvas. Draw your image with watercolor pencil, pastel pencil (suggest: black, white, gray, red, yellow and blue—or a small set of Caran D’ache watercolor pencils), or a light, thin, washed-out monochromatic paint.
Participants may place your image onto your canvas prior to the workshop if you are comfortable to do this, or if you need assistance, Adrian will gladly help you with your transfer or drawing onto the canvas during the workshop.
There are “as many ways as you can skin a cat” to transfer your image onto your canvas prior to painting—you’ve probably utilized more than one of them at various times. If you have a preferred method of getting your image drawn onto your canvas, then by all means, do what works for you. You can: 1) project image onto canvas and draw it; 2) enlarge image to desired size and trace it onto canvas using a light table or window; 3) use a pantograph (IF you can find one!); 4) make your own transfer paper with pastels or pastel pencils—similar to graphite paper, but do not use graphite or charcoal, as they’ll ruin your painting; or 5) employ gridding— which may require either cropping or adding to your photo image so it will fit a standard size canvas. Gridding instructions can be found on the internet by googling How to Grid a Photo to Enlarge for Painting Reference. Adrian will be glad to help with gridding during the workshop should you need assistance with that method. Please feel free to call, email or text Adrian — (504) 491-8309, or firstname.lastname@example.org—for answers to any questions whatsoever! Adrian says, “I’ll leave no stone unturned in helping you to “arrive at your destination”.
And now, the fun begins: Completing your painting utilizing secrets and techniques taught during demos….
Palette: FOLLOW DIRECTIONS PRIOR TO COMING TO CLASS *********
*Masterson Palette (plastic snap closed) 12 x 16” with prepped paper, check online at blick.com or jerrysartarama.com
Mediums: Acrylic Retarder by Golden, Medium and Varnish by Liquitex, Water
Wide choice Brushes:- for acrylic paint at least 1 each) #6 bright, #4 bright, #2 bright, 1 each) #4 and #6 round – bring all your brushes! #16 bright
3 or 4 pastel pencils in different colors, light and dark, bright and dull (to draw out your image on the canvas and to grid your photo)
Acrylic paint, Golden or Liquitex paint 2 oz. tubes (or any brand you might have available) Do not use student grade paint: Liquitex “Basics” or “Golden Open”
Must Have Colors: Titanium White, Hansa Yellow (or Cadmium Yellow Light), Napthol Red (or Cadmium Red), Cobalt Blue, Ivory Black
Suggested Colors: Alizarin Crimson, Pthalo Green, Pthalo Blue, Ultramarine Blue, Dioxide Purple, Cadmium Orange, Yellow Ochre, Naples Yellow, Raw and Burnt Umber, Raw and Burnt Sienna, Paynes Gray, Cadmium Red and Yellow
metal ruler, cork backed 18 x 24 “ clear tape, mat board or cardboard larger than your large spray bottle – mister
metal wooden handled palette knife, hand soap, apron, pencil, cleaned, washed black plastic roasted chicken container(for protecting brushes), large jar for water, rags or paper towels
(bring any supplies you have questions about and wish to try to use)
Canvas which is the same ratio as your painting, i.e. 8×10” x 2= 16 x 20” or
9×12” x 2 = 18 x 24” or a square – 8×8”=any square! as long as the ratio is THE SAME. The other option is to CROP your photo. If you have a different shape. go look at canvases available and get it close to what you want to focus on.
Bring a reference to paint from, a photograph or a master painting you wish to copy and give credit to the artist. Keep it Simple and CLEAR
Color Wheel Notes • Beginners – intention: to mix and match color, creating the color wheel in full color, tints, tones and shades using acrylic paint as the vehicle. Good first step to learn mixing colors, using brushes and learning about your palette and painting habits.
18 x 24” canvas covered white board (not stretched canvas) for color wheel only
smaller canvas – 11×14” or close to it, for first painting if not doing color wheel
Photo to paint from – KEEP IT SIMPLE- Suggest still life with fruit and bowl for #1
Adrian Deckbar began her career in painting and drawing with a strong interest in realism. As a student of Robert Bechtle she was introduced to Photo-Realism while working on her Masters at San Francisco State. She had her first show in a professional gallery in New orleans at The Arthur Roger Gallery in 1979, and hashed 50 solo shows since that time. After much study in drawing from life, she began photographing her subjects and then projecting images from 35mm slides as a way to develop her interests in the human figure. Later in her career, Adrian turned her attention to landscapes with the same dynamic approach that she employed in her figurative paintings. Working in oils and acrylic, as well as pastels, Deckbar has moved fluidly from dramatically charged figurative works to deeply complex and vivid Landscapes. She is presently working on new expressive figurative paintings that she will be unveiling very soon.
She enjoys teaching all levels of students, beginners as well as more advanced students. She has been teaching Art Classes since 1973, privately, in workshops and in Universities.
Learn more in “About the Artist” at www.adriandeckbar.com