Workshops
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January
26-28, 2012 1 Day Still Life, 2 Day Costumed Model Cost: $375 plus model fee 9am to 4pm For artists of all levels Contact: Robin Knowlton (209) 368-5123 Email: robin@knowltongallery.com |
January 13-15, 2012 Laguna Beach Workshop; Surf and Turf, Explore the coast, water, Crystal Cove and Laguna Canyon. Cost: $375 For more information contact: |
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February
10-11, 2012 2 day Costumed Model Cost: $225 9am to 4pm Contact: Peggi Kroll Roberts (209) 736-9386 or (209) 559-1364 |
February 15-17,
2012 3-Day Plein Air Workshop Cost $375 For more information, contact: Marilyn Maulin
808-385-4206 |
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March
12-14, 2012 Costumed Model-Studio and Plein Aire Cost: $425 (includes model fee) 9am to 4pm Contact: Tucson Art Academy |
March 15-18,
2012 4-Day Outdoor Sketch to Studio Workshop Tucson Art Academy Cost $600 For more information, contact phone 520.903.4588 or email at info@tucsonartacademy.com |
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March 30, 31
& April 1, 2012 1 Day Still Life, 2 Day Costumed Model 9am to 4pm Atelier aux Couleurs |
April 9-11,
2012 3-Day Plein Air Workshop
The Art School in Sandy Springs For more information contact Donna at 678-755-1079
Email:
dthomas555@aol.com
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April
12-14, 2012 Costumed Model/Studio and Plein Aire 9am to 4pm
The Art School in Sandy Springs Contact: Donna Thomas at 678-755-1079 Email:
dthomas555@aol.com |
April 17-20,
2012 4- Day Back to the Basics Plein Air and Studio Workshop Scottsdale Artists' School Cost $600 For more information, contact by |
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April 23- 25,
2012 1 day Still Life, 2 day Costumed Figure Studio and Plein Aire 9am to 4pm For Artists of all Levels Contact: Kelly Frost (919) 838-8580 |
May
18-20, 2012 3- Day Portrait and Figure Workshop Cost $375+ $35 model fee Knowlton Gallery For more information, contact Robin Knowlton, (209)368-5123 or robinknowlton@sbcglobal.net
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April 26-28,
2012 1 day Still Life, 2 day Costumed Figure Studio and Plein Aire 9am to 4pm For Artists of all Levels Contact: Kelly Frost (919) 838-8580 |
June 24-26,
2012 3-Day Portrait and Figure Workshop Idyllwild Arts info to follow soon
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May 17-19, 2012 3-Day Costumed Model Workshop 9am to 4pm Cost $425 Conservatory for Classical Art Contact: okconservart@gmail.com |
September 27-29, 2012 Field Sketches and Studio Painting Cost: $390 9am to 4pm Contact: Carole Gray-Weihman (707) 291-7756 Linda Postenrieder (707) 773-1324 Online registration: www.acartacademy.com
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June
14-16, 2012 Thursday, Friday & Saturday 9am to 4pm Costumed Figure under the Oaks Cost: $375 + $35 model Fee For Artist of All Levels Oil and Acrylics Contact: Robin Knowlton (209) 368-5123 Email: robin@knowltongallery.com |
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September 4-7, 2012 l'Atelier aux Couleurs Art Academy Cost: $565 (Model fee included) 1 Day Still Life, 3 Day Costumed Model 9am to 4pm Contact: Carole Gray-Weihman (707) 291-7756 Linda Postenrieder (707) 773-1324 Online registration: www.acartacademy.com |
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September 13-15, 2012 1 Day Still Life, 2 Days Costumed Figure Studio and Plein Aire 9am to 4pm Cost: $425 Contact: Yolanda Escobedo Easton Studio & School (410) 770-4421 Email: eastonstudio@verizon.net |
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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 |
