SUMMER CLASSES 2009
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Cape Cod Photo, Art & Framing
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See registration information listed below workshops.
Supply lists for classes are also listed at the bottom of this page. To register online, click on the underlined price.
WORKSHOPS
WATERCOLOR WORKSHOP
Kely Knowles
Sunday, June 7 / 12:30 - 4:30 pm
Members: $65 Non-members: $85
Discuss the use of thumbnail sketches and their role in developing composition, value and design relationships. Using a unique still life arrangement, or reference photographs, Kely guides students through the process of transferring a design to watercolor paper, adding color and the ultimate joy of finishing a painting. Receive individual instruction, assistance and guidance throughout the workshop.
PLEIN AIR LANDSCAPE PAINTING
Philip Koch
Saturday & Sunday, June 20 & 21 / 9 am - 4 pm
Members: $275 Non-members: $300
“Absolutely nothing helps the artist see better than painting directly from life out in the landscape.” - Philip Koch
Explore the possibilities of using landscape as a springboard for emotional expressionism. A practical hands-on workshop in the delights of painting the landscape, students may work in oil, acrylic or watercolor. Two modest-sized paintings can be completed each day. During lunch breaks, Philip will present examples of work by master landscape artists. He will also give a personal tour of CCMA’s national traveling exhibition of his work, Unbroken Thread. Included topics: the secret trouble spot that trips up most landscape painters; why you probably shouldn’t paint the sky blue; how much is too much, or too little, to include; when to paint the colors you see and when to invent colors; and how to preserve your energy when painting.
SAILOR'S VALENTINES: August 8 & 9 SOLD OUT!
Sandy Moran
August 8 & 9 / Saturday 10:30 am - 5 pm; Sunday 12:30 - 5 pm
Members: $700 Non-members: $725
The August Workshop will focus on a center design of a nosegay created from shells. A handmade mahogany case, sea shells, tools and all other materials are provided.
SAILOR'S VALENTINES: September 15 & 17
September 15 & 17 / 9:30 am - 3:30 pm
Members: $700 Non-members: $725
The September Workshop will center on the many uses of urchin spines which have become a popular alternative to sea shells. A handmade mahogany case, sea shells, tools and all other materials are provided.
PLEIN AIR WORKSHOP with Sergio Roffo
September 18, 19, 20
8:30 am - 3 pm
Members: $350 Non-members: $375
Sergio Roffo will focus on the techniques and principles of Plein air painting of coastal marine landscapes. Sergio Roffo is an elected “Fellow” of the American Society of Marine Artists, a member of the Guild of Boston Artists', and a Copley Master at the Copley Society of Boston. Roffo has won countless national awards and is widely collected.
Each morning will begin with Sergio discussing the aesthetic issues and techniques of art as he demonstrates and completes a field study, encouraging the fellow artists to observe. “ Sometimes you learn more by observing and memorizing than actually painting. While I strongly
encourage the students to observe my demonstration, they will have to option to paint along side of me.” After the demonstration students will receive individual personal instruction and encouragement while completing their painting “Alla Prima” (in one sitting).
The objective of this three day course is to sensitize the class to the aspects of outdoor painting, including:
* Learning how to see nature’s details
* Understanding the interplay of light and shadow
* Knowing how to mix the right colors
* Eliminating the fear of outdoor painting
Open to all levels in oils only.
LANDSCAPE OIL PAINTING WORKSHOP SOLD OUT!
with Joseph McGurl
September 21, 22, 23, 2009
Members: $550 Non-members: $575
The shoreline of Cape Cod will serve as inspiration for this workshop. Participants meet at McGurl's studio and set out by land or sea to the location of choice. The objective is to help students better understand the relationship between field study and its resulting studio landscape. Participants will also investigate the aesthetic issues of painting including composition, color and drawing. Each day begins with a demonstration and a discussion of issues important to the artist. Students then create their own paintings, and receive individual and group instruction.
For materials needed, see listings below.
PLEIN AIR PAINTING WORKSHOP SOLD OUT!
with Don Demers
June 27 & 28, 2009 8:30 am - 5 pm Intermediate Painting level
Members: $300 Non-members: $325
This class will deal with painting the landscape on location and will involve all of the components of painting construction such as concept, composition, drawing, color and technique, but most importantly it will emphasize developing the student’s skills at seeing the landscape firsthand. By working directly from nature (what John Constable called our greatest teacher) students learn to develop technical skills that will allow them to find their individual voices as artists.
Portable painting equipment is required. If the weather is inclement, we will work indoors, however many of the same concepts can be discussed and exercised. Demonstrations are held during lunch time, so students need to bring their lunch to the workshop.
PAINTING FUN FOR EVERYONE
Karen North Wells
Saturday and Sunday, August 15 & 16
Saturday: 9:30 am - 4:30 pm; Sunday: 10 am - 4:30 pm
Members: $250 Non-members: $275 All Levels
Discuss the use of thumbnail sketches and their role in developing composition, value and design relationships. Using a unique still life arrangement, or reference photographs, Kely guides students through the process of transferring a design to watercolor paper, adding color and the ultimate joy of finishing a painting. Receive individual instruction, assistance and guidance throughout the workshop.
COLLAGE TECHNIQUES AND CREATIVE EXPLORATION
Jonathan Talbot
Saturday and Sunday, Oct 31 and Nov 1, 9:30 am - 5:30 pm All Levels
Members: $300 Non-members $325
Explore composition and the creation of a personal visual vocabulary with internationally known artist Jonathan Talbot. Enjoy opportunities for new spontaniety as you learn his exciting collage technique that eliminates liquid adhesives from the collage-assembly process. Other subjects covered include the"paperless" transfer of printed and photocopied images, tissue overlays, permanency of materials, preparation of substrates, sources of tools and materials, presentation and framing of finished works, and more. "The only prerequisites for this workshop are initiative and imagination."
The works of artist Jonathan Talbot have been exhibited at The National Academy and the Museum of Modern Art in New York, have represented the U.S. overseas in exhibitions sponsored by the State Department and the Smithsonian Institution, and are included in museum collections in U.S. and Europe. Talbot's works include oils, watercolors, etchings, collages, and multi-dimensional collage-constructions. Among the public collections holding Talbot works are The Newark Museum, The Smith College Museum, The Everhart Museum, The Byer Museum, The Montclair Museum, The Free Library of Philadelphia, The San Francisco Academy of Art, Fairleigh Dickinson University, The Provincetown Historical Society, and the Toronto Central Library. Talbot maintains his studio in Warwick, NY where he lives with his wife Marsha. For information about suggested materials, click here.
For more information on Talbot and his work, see his website: jonathantalbot.com
SUMMER CLASSES 2009
FUNDAMENTAL DRAWING: Two Sessions
Michael Giaquinto
5 weeks / Tuesdays, June 30 - July 28; 5:30 - 7:30 pm
Members: $80 Non-members: $100
Drawing is the foundation to all art. Build a strong foundation and enhance your understanding of crucial artistic principles. Focusing on still life, students gain valuable insight into traditional methods and fine art practices.
2nd Session:
4 weeks / Tuesdays, August 4 - 25; 5:30 - 7:30 pm
Members: $65 Non-members: $80
WHEEL-THROWN POTTERY: THREE CLASSES
Nat Doane
4 weeks / Tues & Thurs, June 30 - July 23; 6 - 8 pm All Levels
Members: $165 Non-members: $185 Materials fee: $45
This class focuses on the fundamentals of "throwing" on the potter's wheel, an introduction to the basic visual and technical issues involving ceramic forms. Through demonstrations and individual assistance, Nat helps each student develop skills using the potter's wheel to create functional forms such as cups, bowls and vases.
4 weeks / Tues & Thurs, August 4 - 27; 6 - 8 pm
Members: $165 Non-members: $185 Materials fee: $45
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8 weeks / Fridays, July 10 - August 28; 1 - 4 pm
Members: $210 Non-members: $230 Materials fee: $45
(Class descriptions are the same as above.)
BEGINNING PAINTING
Robert Roark
4 weeks / Thursdays, July 9 - July 30; 6 - 8 pm
Members: $65 Non-members: $80
This class addresses the needs of the beginning painter, who may work in their medium of choice -- watercolors, oils, acrylics or pastels. Emphasis is on basic drawing and painting skills along with an in-depth, ongoing discussion of materials, color theory and composition. Demonstrations will illustrate all facets of the artistic process.
EXPLORING COLOR THROUGH STILL LIFE WITH ACRYLICS
Michele Kennedy
4 weeks / Thursdays, August 6 - 27; 6 - 8 pm
Members: $65 Non-members: $80
Painting from a still life, focus will be on experimentation with color, creating line by intersecting planes of color versus drawing directly, using suprising colors, mixing directly on the surface, punching up highlights, creating harmonic balance and experimenting with rule-breaking. Different applications will be explored using various tools to create desired effects.
THE SOMEWHAT COMPLETE GUIDE TO BASIC DIGITAL IMAGING
Stan Godwin
4 weeks / Thursdays, August 6 - 27; 4 - 6 pm
Members: $65 Non-members: $80
This class concerns itself with the basic use of digital cameras, how to manage all those new digital images and how to print them at home or at your local photo printer. Discussion on proper exposure, basic composition and just about everything else that's confusing you. Questions are encouraged. Bring a digital camera with owner's manual, memory card(s) and charged batteries.
A PASSION FOR OPERA: RUSSIAN SONGS
Murray Beer
4 weeks / Wednesdays, August 5 - 26; 1 - 4 pm
Members: $45 Non-members: $60
Explore the history of Russian opera and engage in discussions that focus on works by Moussorgsky, Tschaikowsky and Prokofiev. Some class sessions include the screening of performances such as Boris Gudunof, Eugen Onegin, Rake's Progress and Pique-Dame. Champagne and cookies served during intermission.
GENERAL INFORMATION FOR CLASS REGISTRATION
Please register early! Enrollment is first-come, first-served basis.
To register online:
Click on appropriate underlined price.
To register by mail:
CCMA, P.O. Box 2034, Dennis, MA 02638
To register by phone:
508-385-4477 ext 25
CCMA members receive a reduction in class fees. Click here to become a member.
Ask about our sibling discount.
Adult classes are open to high school students.
Materials lists are given upon class registration or will be provided at the first class session. Materials are provided for children's classes, unless otherwise noted. See class descriptions for specific information.
ALL CLASS AND WORKSHOP FEES ARE NON-REFUNDABLE UNLESS CLASS IS CANCELLED BY THE EDUCATION DIRECTOR.
For additional information regarding courses, please call Linda McNeill-Kemp, Education Director, at 508-385-4477 ext 25.
Cape Cod Museum of Art is not responsible for materials or artwork left on the premises.
Materials Lists for Selected Classes
Oil Painting for All Levels - Robert Roark
Colors- Ivory black, burnt umber, burnt sienna, yellow ochre, cadmium red, cadmium orange, cadmium yellow, alizarin crimson, ultramarine blue, viridian green, titanium white.
Brushes- An assortment of flats and rounds in various sizes will be fine.
--Turpentine
--Paper towels
--Painting and/or mixing knife
--Palette
Plein Air Landscape Painting - Philip Koch
A wide-brimmed hat, sunglasses, sunscreen, a light jacket
A pad or mat to sit on if the ground is wet
Paper towels (Bounty brand recommended)
Brushes- a selection of 6 bristle flat brushes ranging from ¼ to 1 inch wide
Palette (wood, masonite, or disposable wax paper palettes all ok)
Palette knife for mixing color
Pigments (either oil or acrylic pigments ok. Small 37 mm tubes ok ) :burnt sienna, raw umber, ultramarine blue, phthalocyanine blue (phthalo blue), phthalocyanine green (phthalo green), cadmium yellow, cadmium red, quinacridone violet or alizarin crimson, dioxazine purple, large (150 mm) tube of titanium white
-plus any other pigments you wish to work with
If you are working with oil pigments you will need to have solvent- I would recommend a quart of Gamsol, or gum turpentine.
Oil painters will also need a painting medium. I recommend the traditional linseed oil painting medium that you pre-mix (1/3 part artist’s linseed oil, 1/3 part Damar varnish, 1/3 part gum spirits of turpentine) and then bring it out into the field with you in a small jar with a metal screw on top. An alternative medium would be Gamsol. You will also need a double palette clip on cup to hold the medium and the solvent.
Acrylic painters will need a squeeze bottle filled with water and a can of water to wash out brushes.
A trash bag to hold your used paper towels
Painting surfaces: You should have three small surfaces ready to go. Either stretched canvas, gessoed masonite, or canvas board are suitable. Probably working between approximately 8 x 10” and 16 x 20” would be best. The larger the brushes you work with, the larger the painting surface you can handle.
You will also need a box large enough to hold everything but small enough to carry.
The wooden painter’s boxes that hold the wooden palette securely are excellent.
A folding portable easel while not required is strongly recommended. They hold the painting securely, and allow you step back while you are working to consider the entire painting’s surface.
Drawing - Michael Giaquinto
14” x 18” drawing pad
Pencils: HB, 2B, 4B and 6B
Gum or kneaded eraser
Blending stump
Figure Drawing - Patrick Blackwell
Drawing pad: your choice: sized 9" x 12" to 12" x 18" recommended
Soft pencils
Eraser
Charcoal
Intermediate Oil Painting - Shawn Nelson Dahlstrom
Colors: White (Titanium or Zinc); Payne's Gray, Burnt Umber, Cadmium Yellow, Orange and Red; Alizarin Crimson; Thalo Blue; Ultramarine Blue, Diozanine Purple
Palette and palette cup
Odorless paint thinner
Vine charcoal
Painting knife
Brushes: Filberts: #2, 4, 6; Rounds: #2, 4, 6 (if you wish to purchase only two brushes, choose Filbert #4 and a round #4)
Cloth or paper towels to clean your brushes
Canvas
Water-Base Oils and Acrylics - Karen North Wells
For oils, my preference is Artisan water-base oils by Winsor Newton plus.
Stand oil made especially for water-base oils. Stand oil gives paint a sheen plus makes them buttery in texture, quite creamy! Stand oil is NOT used with acrylics. Or you may use Linseed oil instead of Stand oil with oils. I just happen to like Stand oil.
For acrylics my preference is Liquitex.
For oils and acrylics I use pretty much the same colors as I do for watercolor except for a few differences.
Cadmium Lemon, Yellow Ochre, Cadmium Yellow Medium (optional), Cadmium Orange(optional), Cadmium Red Light or Cadmium Red, Cadmium Red Medium, Alizarin Crimson(optional)(good with Viridian Green to make black), Permanent Rose (used for flowers), (French) Ultramarine Blue, Winsor Blue (Phthalo Blue), Cerulean Blue, Viridian Green (Optional, but good with alizarin crimson to make black), Ivory Black mixed with lemon yellow to make green, Titanium White (I get large tubes because this is used the most of all the colors.)
I highlighted in bold the colors I think are absolutely necessary. Others can be bought later if needed.
Canvas (stretched) or Masonite or canvas board -- I coat canvas or Masonite(without waffle-like backing) with Gesso and then undercoat painting with cadmium red light acrylic paint before painting subject. If canvas is already white, then it has already been primed with Gesso.
Brushes of all sizes and unlike watercolor, the cheaper the better- round, flat and filbert made for oil or acrylic paints
Lucite right-angle triangle (the larger the better for horizon lines)
Two jars or plastic 16 oz containers (filled with water if painting outdoors)
Paper towels
Palette made from Masonite, Lucite, plastic plates or disposable paper sheets that are made to use as a palette
Watercolor Painting - Karen North Wells
Palette: I have used Jones palette but like John Pike Big Well Palette because it is sturdier and has room for 1½" flat brush
Watercolors: I like Winsor Newton, but NOT their Cotman series
Cadmium Red, Cadmium Lemon (make sure it does not have titanium nickel), French Ultramarine Blue (for shading), Cerulean Blue (for skies), Winsor Blue (red or green shade; this is a Phthalo Blue I use for water), Prussian Blue (to mix with Lemon Yellow for green), Yellow Ochre (for sand, skin, sky and warm whites)
Optional colors, but needed eventually: Cadmium Yellow Pale, Cadmium Orange, Permanent Rose (for flowers), Alizarin Crimson
Brushes: I like Pro Arte, Langnickel, and Richeson
Flat: ¼", ½", 1", 1½" (None of these you need right away except the 1½")
Round: as small as #000 or #00 for signing name; also #10, #12, #16 and a larger one which is VERY important-Either a #20 or #24
And a #1 or #2 rigger, but not necessary to start out
Paper: D'Arches Block 140 lb. cold or hot pressed (I buy blocks)
Other supplies: Masking fluid (I like "Incredible White Mask" from ASW), masking tape (if you don't use watercolor blocks), sponge or spray bottle (optional), paper towels, 2 water jars, #2 pencil, eraser (Eraser Staedtler Mars Plastic is terrific, sold at Staples)
Watercolor - Kely Knowles
Colors: Permanent Alizarin or Quinacridone Rose, Cadmium Yellow or Cadmium Lemon, Phthalocyanine Blue or French Ultramarine Blue and Cobalt Blue OPTIONAL: Cadmium Orange and Cerulean Blue
Brushes: Synthetic watercolor brushes: #2, #5, #8 round; 1" and 2" flat (or 1.5" flat)
D'Arches Watercolor 140 lb. paper (rough or hot press or cold press); block or single sheets
Masking tape (any width)
Any waterproof board (slightly larger that 1/4 sheet watercolor paper)
Paper towels or cotton rags
Paint palette or mixing tray (white ice cube tray)
2H pencil and dark soft pencil
Medium sketch pad
Kneaded eraser
Landscape Oil Painting - Joseph McGurl
Suggested palette* (oil or alkaloid): Hansa Yellow Light, Cadmium Yellow, Cadmium Orange, Cadmium Red Light, Cadmium Red Medium, Alizarin Crimson, Permanent Green, Greenish Umber (Rembrandt Paints), Cerulean Blue, Ultramarine Blue, Thalo Blue, Burnt Umber (alkyd) Raw Sienna, Ivory Black, Dioxanine Purple, Underpainting White (Winsor & Newton), Titanium White
*NOTE: I strongly advise against using "student grade" colors. There is not enough pigment in certain colors, and it makes mixing difficult.
Other supplies:
Sketching easel or pochade box
Sketch pad, Charcoal, Eraser, Pencil
Liquin painting medium
Mineral spirits or turpentine
Paper towels
Suitable assortment of brushes
Oil and turps cups
Palette
Portable stool
Palette knife
Two small masonite panels (apporx. 6 x 10)
One larger masonite panel (approx. 8 x 12)
Knapsack or method of carrying supplies
Viewfinder
Hat, sunblock, bug spray, jacket, lunch and drinks
Plein Air Painting with Don Demers
Oil Paints:
Ultramarine Blue, Cobalt Blue, Prussian or Thalo (optional), Viridian, Cad. Yellow light or Lemon Yellow, Cad. Yellow Medium, Cad. Red Light, Cad. Red Medium, Alizarin Crimson
Earth Tones: Yellow Ochre, Raw Sienna, Burnt Sienna, Terre Verte (optional), Burnt Umber, Raw Umber (optional), Greenish Umber (optional)
Painting Medium of your choice. I prefer a fast drying alkyd medium in gel or liquid
Brushes:
A combination of bristle brushes. I suggest small medium and large in three styles.
Filberts, Rounds and Flats.
One or two Sable flats and rounds in medium and large sizes for blending and softening edges
Canvas or linen mounted on board or gessoed board. Sizes can range from 6x8s to 16x20s but nothing much larger.
Portable Easel or pochade box for working outdoors.
Sketch Pad with soft pencils
View finder (home made or manufactured)
Click here for CHILDREN'S CLASSES
PREVIOUS CLASSES
Dry Pastels - Peter Richenburg
Set of dry pastels (the larger, the better)
Several sheets of etching paper, no larger than 18" x 24"
Sheet of medium sandpaper
Roll of artists tape
Small chamois
Drawing board for your paper to be taped on (masonite is fine)
Oil Painting in Primary Colors - Lance Walker
Colors: Ultramarine Blue, Cadmium Red Light, Cadmium Yellow Medium, Titanium White (large tube)
Brushes: Bristle, Flats: #2, 4, 6, 8 or a set; Filberts: #2, 4, 6, 8 or a set; Synthetic round #4
Canvas, stretched: 8 x 10, 9 x 12, 11 x 14
Linseed oil
Odorless mineral spirits
Small jars with lids (like baby food jars)
Palette
Palette knife (metal or plastic)
Rags, paper towels
Landscape Painting in Oils - Robert Douglas Hunter (Three-Day Workshop)
Colors: Titanium White, Cadmium Yellow Light (Rembrandt brand), Cadmium Orange, Cadmium Red Scarlet, Alizarin Crimson, Sevres Blue, French Ultramarine Blue, Viridian, Yellow Ochre
Plein air easel (outdoors)
Many brushes, various sizes
Turpentine, or eqivalent
Palette knife or scraper
Rags, paper towels and waste bags
Canvas panels: 10" x 16" or 14" x 18" or 16" x 20" (Two per day)
Hand-painted Floorcloths - Michael Giaquinto
Acrylic paints and brushes
Stencils
Blue Painters tape - 1" size
Metal yardstick
Pencil and eraser
Compass
Epoxy or "Goop" (can be purchased at Mid-Cape Home Centers)
Sponges or dense foam - to make your own stamps
Craft knife
Latex gloves, if needed
Painting Still Life - Katherine Ann Hartley
Colors: Burnt Sienna, Raw Umber, Burnt Umber, Ivory Black, Ultramarine Blue, Yellow Ochre, Cadmium Yellow medium, Cadmium Yellow deep, Alizarin Crimson, Indian Yellow, White
Palette
Palette knife
Several small to medium filbert brushes, sizes 2 - 10
1 flat white sable 1" (optional)
Liquin - oil painting medium
Lightly toned board or canvas - toned with umber and blue with Liquin
Paper towels or rags; brush cleaner
Life Modeling Sculpture - Robert Marcus
--Large board, at least 12" x 12" and 3/4" thick or larger. This should be coated with polyurethane, paint or varnish. It will be the platform for your modeled figure. Since one of the poses will be a reclining figure, make sure your board is larger than the figure you want to make.
--Large plastic bag such as a garbage bag. This is used to keep the sculpture clean between sessions.
--Modeling tools: Two wire loops (small loop and large loop) and a wood-blade modeling tool
Optional: Wire armature. This is useful for larger figures that need structural support.
Note: The oil-based clay (about 15 lbs) is purchased from the instructor.
High School Portfolio Development - Daniel Springer
Charcoal sticks/pencils - black & white
Charcoal paper, decent quality
Kneaded erasers
Paper blenders (tortillons)
Ebony pencils
Drawing paper, decent quality
Calligraphy II - Rick Paulus
Calligraphy pens, any type
Ink
Sharp pencil, eraser
Ruler
Paper for practice
Quality paper for experiementation and finished pieces
Optional:
Paint brushes
Quality watercolor paints and/or gouache
Colored inks
Compass
Large pens
Still Life Oil Painting - Sarah Son-Theroux
Colors: (37 ml tubes, Utrecht brand is good)
Burnt Siena, Yellow Ochre, Burnt Umber, Alizarin Crimson, Cadmium Red Medium, Cadmium Yellow Medium, Ultramarine Blue
Zinc White (150 ml tube)
Brushes: bristle- filberts #2, #4, #5; pure red sable round #1
Palette knife (a diamond-shaped 2 3/4 inch is good)
Palette cups (set of two), medium to large
Painting Medium or Linseed Oil (Utrecht Oil Painting Medium, 8 oz. is good)
Odorless Mineral Spirits ( 1 qt.)
4 canvases, or panels, 9" x 12"
Rags or paper towels
Palette at least 12" x 16" (disposable paper palette is good)
Dish soap to clean brushes
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