Portrait and Pattern: Klimt Inspiration in Acrylic

A gifted artist and a talented teacher, Terry Furchgott has made art her career and her passion for over forty years. She is currently represented by the Lisa Harris Gallery of Seattle, WA. Working primarily in acrylic and soft pastel, her paintings focus on the figure and are notable for their depth of color, strong, innovative compositions and exploration of the archetypal nature of human relationships. Furchgott received an honors degree in art history from Radcliffe College and studied classical drawing and painting at the Camden Arts Center, London. She brings a broad understanding of art history, seasoned practical experience, a continuing creative excitement and a questioning mind both to her creative process and to her work as a teacher. Furchgott has been the recipient of Individual Artist Awards and Fellowships from the Washington State Arts Commission, the King County Arts Commission and Artist Trust.
Along with her studio work she has also pursued a successful career in public art, completing large-scale commissions for the Seattle Center House, the Kent Regional Justice Center, the United States Post Office, the Regional Arts and Culture Council of Portland, the Fairbanks School District, Olympia High School and the Washington State Arts Commission among others. A community activist, Furchgott has used her talents as an artist to design and coordinate several key community projects including the Art to the People Project, a multidisciplinary arts celebration of Seattle’s African Americans, the Southeast Asian Poster Project and the Garfield High School Mentoring Program.
She is represented in key Northwest collections and her work can be viewed at the Microsoft Corporation, the WA Sate Arts Commission, the Seattle Center, Virginia Mason Medical Center, the UW Medical Center, Continental Bank, McDonald’s Corporation, Providence Hospital, Group Health, Federal Home Loan Bank, and the United States Postal Service.
Friday:
6:30-9:30 P.M.
Saturday-Sunday:
9:30 A.M.-4:30 P.M.
2/16-2/18
$295
Live Model
Intermediate
Gage Capitol Hill
PAPERS/GROUNDS: *Note: You will be completing multiple paintings, painterly sketches, and exercises in this workshop. For all of them you will be working on either the 12″x18″ tagboard pre-sealed with 1-2 coats of white Gesso, or the larger 18″x24″ sheets of 80-90 lb. white paper pre-sealed with 1-2 coats of white Gesso. Sealing one side of the paper only is fine if you don’t mind the paper curling up a bit at the edges; if you seal both sides the paper stays flatter – your choice.
Choose one of the following, or you can buy some of each:

  • Pacon Tag Board – 1 pack of 100 sheets, 12″x18″
  • 6 – 8 sheets of 70-90 lb. white sketch paper appropriate for charcoal

**IN PREPARATION FOR THE WORKSHOP: Please seal 10 sheets of the tagboard, or 5 sheets of the larger white paper, with 1-2 coats of white Gesso on one or both sides. You can also use some of each if you prefer.

CHARCOAL, PENCILS, ERASERS:

  • 1 HB or B pencil
  • 1 kneaded eraser
  • 1 stick Compressed Charcoal: either Pitt Compressed Soft OR Faber Castell Compressed Medium
  • 2-3 sticks Vine Charcoal – Soft
  • 1 stick Conté Crayon – White
  • 1 stick Nupastel or Rembrandt soft pastel – White

PALETTE, PALETTE PAPERS:

  • The Wet Palette – a “wet palette” is made up of a container with a tight cover, into which is placed a piece of blotting paper, a sponge, or foam covered by a piece of wet palette paper with the blobs of wet paint on it. This works well with acrylic paints, keeping the otherwise fast-drying paint wet and workable for up to 2 months, and allowing you to just open the palette box and start work whenever you feel like it with no time wasted on set up. The wet palette is for keeping the clean blobs of paint moist, NOT for mixing on – we will use the wax paper Mixing Palette (also called a Disposable Palette) for that. Choose your Wet Palette from one of the following options (the smaller size in the Rowney or the middle size in the Masterson product is plenty big and cheaper than the larger sizes):
    Option 1: Rowney Sta-Wet Palette, 10″x14″, comes complete with reservoir paper and wet palette paper that does not need to be soaked before use; Artist and Craftsman Supply in the University District has ordered these for my students. (this is my favorite of the wet palette choices, but also the most expensive)
    Option 2: Masterson Stay-Wet Palette (good also, though I prefer the Rowney version), comes with wet palette paper which must be soaked in hot water for some time before use – alternative Wet Palette Paper that does not need to be soaked will be supplied in class by Instructor.
    **Option 3/ Cheaper Option: Make up your own stay-wet palette by purchasing a round or rectangular (6″x8″ minimum) shallow plastic container with a tight lid (or cover with plastic wrap). 1/4″ foam and wet palette paper to line the box will be supplied by the Instructor in class.
    *Supplied by Instructor: Sta-Wet Palette Paper that does not need soaking in hot water for wet palette; foam sponge base for your wet palette if it does not come ready supplied with a sponge
  • Disposable/Mixing Palette: 1 Canson or other brand 12″x16″, 40 sheets, Disposable Palette with or without thumb hole. (Note: this palette has waxy sheets and is for MIXING the paints on; the WET palette is just for holding the paint and keeping them moist, not for mixing).
    **Cheaper Option: Cut a piece of foam core or cardboard to 12″x16″, and if it is not white tape or glue a piece of white paper on it, or paint it white. Cut 15-20 pieces of wax paper to the same size and tape one piece of wax paper on to the board at a time as needed.

PAINT, GESSO, AND MEDIUMS:

  • Paints Option #1:
    • One 2-oz. tube @ of the following Golden Heavy Body Acrylic Paints (Note – the paints marked with an **/asterisk MUST be the Golden brand; the others can be other brands but it is important that the color be similar to the Golden brand equivalent): **Alizarin Crimson Hue, Cadmium Red Light, Cadmium Yellow Light or Hansa Yellow Light, Cadmium Yellow Deep or **Diarylide Yellow, Yellow Ochre, Titanium White, Carbon Black, Raw Umber, **Quinacridone Burnt Orange, **Prussian Blue Hue, **Cobalt Violet, Ultramarine Blue, **Viridian Green Hue, **Pyrrhol Red, **Mars Yellow
    • The Instructor will supply the following paints as needed: Mars Violet/**Violet Oxide/Indian Red Oxide, **Chromium Oxide Green, Cobalt Blue, Raw Sienna, PaleOlive, Cerulean Blue (Daler-Rowney System 3 Acrylic), Paynes Grey, **Jenkins Green, Naples Yellow, Red Oxide, Burnt Umber, Pale Umber, Gold
    • Optional : (these colors can be mixed from the other colors you will have on your palette, but it is easier and useful, though not essential, to buy them ready mixed in the tube) Daler Rowney System 3 Acrylic – Wedgwood; Winsor Newton Galeria Acrylic – Pale Terracotta, Titanium Buff, Powder Blue, Pale Violet; Golden Acrylics: Pale Magenta
  • One container of white Gesso, the smallest size (Liquitex is an inexpensive brand). ** Cheaper Option: paint stores often have cans of water base white paint returned by customers and sold at very low prices which can be substituted for Gesso
  • Golden Polymer Medium- Gloss – smallest size (Note: Do not buy Golden Gloss Medium which is a different product!!)

BRUSHES AND PALETTE KNIFE:

  • Palette knife: (small trowel or diamond shape with the blade lower than the handle) – can be plastic
  • Brushes Option #1: Please bring the following brushes (or their equivalents if you already own some similar brushes) to class. They are all available at Artist and Craftsman Supply in the University District and probably at many other stores. The Princeton Series 6100R, 6200R, and 6300R are all fairly similar – so you can buy the required size brushes from whichever series you prefer, or from some other brand. Note: These are all long-handles brushes!:
    • Rounds: Princeton Art and Brush Co. – Series 6200R, #2; 6300R, # 4; 6100R, #6
    • Flats: Princeton Art and Brush Co.- Series 6200F, one @ of #1, #2, #4, and #6
    • Princeton “SNAP!” series – #8 Round, #8 Flat (long handles!)
    • One 1.5″ – 2″ cheap housepainting brush or equivalent (for applying Gesso to the paper)
    • ptional: Filberts: Princeton Art and Brush Co.- One each of #1, #2, #4, and #6 from either the 6100FB, the 6200 FB, or the 6300FB series
    • Optional: Princeton “SNAP!” series – one long handled Fan Brush
    • Brushes Option #2/Cheaper Option: You can also buy all of the above brushes in equivalent sizes from the Princeton “SNAP” long-handled series, which is not as good quality but is adequate and cheaper than the more expensive types of Princeton and other brushes

MISCELLANEOUS:

  • White Artist’s Tape or other tape – 3/4″ wide
  • 1 small covered container for Medium (such as an 8 oz. yoghurt container)
  • 1 rag
  • Water containers supplied by Instructor

IMPORTANT INFORMATION: There will be a $15 Materials Fee collected on the first day to help cover the cost of additional materials bought in bulk by the Instructor to keep student costs down (these are additional materials – the ones on this list are the student’s responsibility). In several categories I have listed both a Standard and a **Cheaper Option for specific materials to help you cut costs if desired.
*You will need to seal some paper with gesso in preparation for the Workshop- instructions are given below at the end of the “Papers/Grounds” section.
Many of the materials, including the wet palettes and the SNAP brushes, are available at Artist and Craftsman Supply by the Freeway in the University District, among other stores.
Please contact me with any questions – Terry (206) 919-0993.

*We will lay out our paints on the wet palette together at the first session.

**IN PREPARATION FOR THE WORKSHOP: Please seal 10 sheets of the tagboard, or 5 sheets of the larger white paper, with 1-2 coats of white Gesso on one or both sides. You can also use some of each if you prefer.

 
Explore the decorative opulence, rich color, and sensual beauty found in Gustav Klimt’s portraits and depictions of women. This late 19th century Austrian Symbolist painter has much to teach us about surface texture and brushwork, pattern, dramatic figurative composition, and the psychological impact of color. Working from mastercopies and Klimt-inspired set-ups with model, students will complete multiple studies and one finished painting, integrating those elements we most admire in Klimt’s work into our own.
 
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