Innovative Portrait Painting

Barbara Fugate received her MFA in painting from Miami University of Ohio. She has exhibited in Kentucky, Washington and New York and is published in “The Best of Drawing and Sketching” by Terry Sullivan, “Landscape Painting” by Mitch Abala, and “Contemporary Drawing” by Margaret Davidson. Barbara teaches at Gage Academy of Art, and conducts art workshops in Washington and abroad. “Drawing and painting is about discovery, revealing a reality that is ever more authentic and genuine to me. What is most inspirational is the transient nature of life; things dynamic, moving, and in transition.” –Barbara Fugate
Thursday
4/12-6/14
6:30-9:30 P.M.
$490
Live Model
Intermediate
Gage Capitol Hill
    • 2 larger CANVASES and 2 smaller canvases for painting sketches (canvas pad or stretched canvas are OK)
    • 2 MAIN stretched CANVASES—24”x36” minimum size. You may go a bit larger than this if you want. No square shaped canvases please
    • Approximately 2 PAINTING-SKETCH SUPPORTS for the whole course (gessoed canvas-paper or canvas pad)–size: 18” x 24” is best
    • Note on the painting sketch canvas/paper: You may use a “canvas paper pad” sold at art supply stores in a pad or gesso thick watercolor or printmaking paper. If you are priming thick paper, be sure to tape it all the way around (all edges) to a heavy board first, then gesso and allow it to dry completely before removing the tape. (or leave the tape on and bring the board and paper to class). Taping securely on all edges before priming prevents buckling
    • *FOR THE FIRST CLASS MEETING: bring one smaller canvas/paper for a painting sketch and one larger (24×36” minimum) canvas. Please apply two more coats of gesso to pre-gessoed canvases to smooth the surface too a bit. Lightly sand the dried gesso. Thank you.
    • BASIC PAINTING COLORS—OIL or ACRYLIC: Please have the following requested colors (color names vary according to brand)
      • Titanium White
      • Zinc White
      • Mars or Ivory Black
      • Hansa Yellow
      • Hansa Yellow Deep (or) Permanent Orange
      • Permanent Red (or) Organic Vermillion
      • Permanent Blue (or) Ultramarine Blue
      • Phthalo Blue
      • Dioxazine Violet (or) Violet (or) Carbazole Violet
      • Viridian (or) Phthalo Green
      • Sap Green
      • Olive Green
      • Raw Umber
      • Yellow Ochre

OPTIONAL COLORS (these are all interesting colors for mixing skin tones):

    • Perinone Orange
    • Quinacridone Coral
    • Cobalt Teal Blue
    • Pyrrol Scarlet
    • Pyrrol Orange
    • Perelyene Maroon
    • Indian Yellow
    • Quinacridone Orange or Red
  • HOG HAIR BRISTLE BRUSHES (variety of sizes, rounds/filberts/flats) –Stiff brushes (not soft synthetic) are best for this class
  • Have at least TWO SIZES of each type of brush (HOG BRISTLE PLEASE) FILBERT / ROUND / FLAT (large and small, such as a #8 or #10 and a #4 or #2)
  • 1.5 inch thin flat brush (chip brush)— very inexpensive brush found at hardware stores or some art stores (I’ll have an example the first class—not needed the first meeting)
  • NOTES ON BRUSHES: Bring a variety of brush sizes and shapes you already own: flats, brights, angles, fans, filberts, and rounds. (HOG BRISTLE is recommended)

For the first class meeting: bring one painting sketch canvas (pad/canvas paper) and one stretched canvas as noted.

PAINTING TOOLS:

  • 1 PAINTING PALETTE KNIFE: I recommend the long-medium sized diamond shape.
  • 1 SCRAPER for cleaning your palette
  • 1 PAINTING PALETTE: glass, Plexiglas or paper–a good-sized one please (14″X20″ or larger is good). Acrylic painters—you may want to use the “Stay Wet” palette to keep paints moist
  • PAPER TOWELS (I recommend “Bounty” or “Viva”)
  • Cotton rags (cut pieces from a cotton t-shirt)
  • 1 CONTAINER FOR SOLVENT OR WATER (GAGE provides oil paint solvent) Bring lids for to help contain fumes for oil painter’s solvent
  • PLASTIC BAG to hold used paper towels while you’re painting
  • MASKING TAPE to hold down your painting-sketch paper or boards for our quick painting sketches on your drawing board—unless you bring stretched canvas for your painting sketches
  • FOR ACRYLIC PAINTERS ONLY: I recommend you have a Matte Medium to thin paint and/or RETARDER or GLAZING medium to EXTEND THE DRYING TIME of your paints–and have a SPRAY BOTTLE to keep paints wet

BRUSHES:

  • HOG HAIR BRISTLE (variety of sizes, rounds/filberts/flats). Stiff brushes (not soft synthetic) are best for this class
  • Have at least TWO SIZES of each type of brush (HOG BRISTLE PLEASE) FILBERT / ROUND / FLAT (large and small, such as a #8 or #10 and a #4 or #2)
  • 1.5 inch thin flat brush (chip brush)— very inexpensive brush found at hardware stores or some art stores (I’ll have an example the first class—not needed the first meeting)

NOTES ON BRUSHES: Bring a variety of brush sizes and shapes you already own: flats, brights, angles, fans, filberts, and rounds. (HOG BRISTLE is recommended).
Total For the Course:

  • 2 MAIN CANVASES and 2 painting sketch supports (smaller pad/boards)
  • 2 MAIN stretched CANVASES—24”x36” minimum size. You may go a bit larger than this if you want. No square shaped canvases please
  • Approximately 2 PAINTING-SKETCH SUPPORTS for the whole course (gessoed canvas-paper or canvas pad)–size: 16” x 20” or 18” x 24”

Note on the painting sketch canvas/paper: You may use a “canvas paper pad” sold at art supply stores in a pad or gesso thick watercolor or printmaking paper. If you are priming thick paper, be sure to tape it all the way around (all edges) to a heavy board first, then gesso and allow it to dry completely before removing the tape. (or leave the tape on and bring the board and paper to class). Taping securely on all edges before priming prevents buckling.

 
Break from the traditional mold of portrait paintings from a live model. We’ll begin with drawn self-portraits in order to learn basic proportions and structure of the head and face, and then explore painting portraits from models with both long and short poses and expressive brushwork and color. Many different artists will be discussed, ranging from Rembrandt and Van Gogh, to Freud, Bacon, and Saville, whose innovative portrait paintings include presence, likeness, and emotion.

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