Workshops
| Peggi's Workshops | Ray's Workshops |
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April 16 & 17, 2010 2 day Figure Workshop
l'Atelier aux Couleurs: the Art Academy Workshop hours 9:00 am to 4:00 pm Contact: www.acartacademy.com Linda or Donna at 707-773-1324 |
March 15 -18, 2010 "Field Study-to-Studio 3-Day Workshop"
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May 10 - 14, 2010 in conjunction with Ray Roberts Workshop hours 9:00 am to 4 pm Contact: Anne Neilson 704-652-1906 http://www.anneneilsonfineart.com/roberts/ |
April 16 -18, 2010
" Study to Studio 3-Day Workshop" Contact: Mark Fehlman mfehlman@cox.net
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June 21 - 25, 2010 Lodi, CA "5 Day Costumed Figure Workshop"
Workshop hours 9:00 am to 4:00 pm Contact: Robin Knowlton |
May 2, 3 & 4, 2010 Landscapes and Gardens contact: Donna Thomas dthomas555@aol.com
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June 30 - July
2, 2010 3 Day Workshop Figure & Still Life Idyllwild Arts Foundation
Workshop hours 9:00 am to 4:00 pm
Contact: Registrar (951) 659-4552 |
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July
12 - 16, 2010 2 day Still Life , 3 day Figure Workshop Jackson Hole Art Association Workshop hours 9:00 am to 4:00 pm Contact: Amy Larkin 307-733-6379 or go to www.artassociation.org |
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September 4-6, 2010 1 day Still Life , 2 day Figure Workshop
l'Atelier aux Couleurs: the Art Academy Workshop hours 9:00 am to 4:00 pm Contact: www.acartacademy.com Linda or Donna at 707-773-1324 |
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September 10 - 12, 2010 3 Day Figure Workshop Workshop hours 9:00 am to 4:00 pm
Contact: Joan Stevens |
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September 15 - 17, 2010 3 Day Figure Workshop Workshop hours 9:00 am to 4:00 pm
Contact: Joan Stevens |
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October 3 - 5, 2010 3 Day Figure Workshop Studio and Outdoor American Impressionist Society Contact: Mary Garrish |
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October 8 - 11, 2010 Easton Studio and School Still Life & Figurative Workshop Workshop hours 9:00 am to 4:00 pm Contact: Easton Studio |
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Registrations are accepted on a first-come, first-served basis. A fee of $100 deposit required to reserve a spot in the workshops Early registration is encouraged, as many workshops/classes fill quickly.
Private
Lessons Available
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Kroll Roberts Gallery Workshops offer a wealth of knowledge of painting, generously and clearly given in each workshop. We employ several lesson plans to strengthen the individual artists’ skills. Many of these exercises have been passed on from earlier generations of artists and some lessons have been developed by Peggi and Ray. Peggi and Ray have over a combined 30 years experience in teaching workshops. They’ve also taught at many of the top representational art schools across the country and to many of the instructors teaching today. |
| Peggi and Ray offer a variety of workshop locations and subject matter. Please explore our workshop locations, subject matter, and courses offered. If you have any questions we will be happy to discuss them with you. We want to make sure your workshop is a very positive experience combining education and fun. |
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Peggi's Figure and Still Life Workshops In these workshops the figure will be the subject matter, however the focus will be on improving drawing skills and seeing values and colors correctly and understanding their relationships to each other. There will be daily demonstrations emphasizing the big shapes and establishing their relationships correctly. This provides a springboard to adding additional information if the individual artist desires. We will address design and technique in a manner in which the individual artist may express themselves in a personal way. The student will experience many specific assignments, which helps to "get to the point a little more quickly". Be ready to cover a lot of canvas and "learning through earnest mileage". Students will receive plenty of one-on-one instruction and individual demonstrations as needed. |
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Ray's Plein Air Landscape/Seascape workshops Ray's workshops begin with a demonstration of the set-up and materials. For the experienced painter, his approach is a refresher of everything one needs to keep in mind when painting; composition, drawing, values and the approach. Through individual attention, artists will be able to focus on areas needing improvement and how to develop those skills. Ray's coastal workshops will focus on what to look for when painting water, white water, reflections and waves. With it's constant movement it can be mesmerizing. You will have a clearer understanding of how to paint water that looks translucent, reflective, and moving when shown what to look for with explanations and demonstrations. As with all his workshops, there will be a comprehensive approach to painting in general. |
| The following is an excerpt
about Peggi's workshop from an article in the premiere issue of
Workshop Magazine. PEGGI KROLL-ROBERTS
Peggi Kroll Roberts’ workshop [on painting figures in the landscape] examined composition, design, color use, and quite a bit of art philosophy, but the heart of the teaching was on value. The first exercise required the students to paint the model and the background using two values: black and white. She urges students to paint large masses, connecting the shapes wherever possible. The result is the basic design of the painting. Laying this down first allows one to judge the painting’s overall effect and adjust the composition if necessary. “I would rather be off on my color than off on my values,” said Kroll-Roberts. … Get your values and design down. Push and pull the big shapes until their relationship to one another work. Learn to see, and to paint, a pleasing dark-light pattern. If you get these big relationships right, you can go back in and add patterns on a dress, add a necklace, anything else, and it will work because the basic value relationships will be preserved.
“Paint all the shadows first,” the artist instructed. “Paint them in one value, and tie the shapes together where you can—mass those shadows.” Kroll-Roberts reminded students that if values are broken up on the canvas—if, for example, there is too much contrast in respective areas—the painting can seem spotty, unorganized, and hard to read from a distance. “Connect the lights and darks so your eye can move through the painting without interruptions,” she said. Students then progressed to painting a model’s pose using four values—one, three, eight, and 10 on a 10-point scale, using white with just a trace of quinacridone rose as the value of one, and black at the value of 10. For one pose on the second day of the workshop, this meant the background was painted at eight, the shadow areas in black, the dress with white, and the skin tones at value three. At this point, all of the critical work on the painting was done. The subject matter was sketched, the shapes were massed in, the values were correct. Color choices would be next, and this is the area where an individual’s artistic vision could emerge…. To see the article go to: http://www.myamericanartist.com/2008/04/plein-air-point.html |
