Fechin Art Workshops: Sherrie McGraw

by FO

WHAT PAINTING IS
(figure, portrait, still life)

24 – 27 September 2012

Tuition: $875.00 plus NM tax
Register by 24 June 2012
Limited to 20 students

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Workshop includes all model fees and still life set ups, afternoon studio tour and catered reception, 27 April and a Dual Demonstration with David A Leffel at the Harwood Museum (www.harwoodmuseum.org) in Taos, 28 April, 1pm.

Hotel St. Bernard (stbernardtaos.com) rate includes 3 gourmet meals daily, room for 5 nights and amenities. ?$850.00 per person, plus tax and gratuity, per workshop session. ?This rate applies to all guests regardless of single or double occupancy. Hotel fees are due upon arrival.

ABOUT SHERRIE
Recipients of an honorary Doctorate Award are not casually selected. They are publicly recognized for their outstanding gifts and notable works. Recently, Dr. Sherrie McGraw was awarded her degree from the Academy of Art University in San Francisco, during a memorable presentation. Her sage advice to the students encouraged them to pay attention to their inner motivation, advice she continues to follow daily in the privacy of her studio.

Uninfluenced by contemporary art trends or demands for mass production, Sherrie is committed to artistic living. Disciplined time pursuing her inspiration began early in life, resulting in widespread awareness of the importance of her technique and vision.
Top national and international art schools compete for her clarity and insight in their programs. Cornerstone organizations such as the Salmagundi Club and Portrait Society of America rely on her paintings and instruction as benchmarks for their events.

Experiencing the depth and rich quality of Sherrie’s paintings provides important insight into viewing the world. Relationships of light, shadow and texture create balance, demonstrating the wisdom of her choices. Thoughtful selections from her Tang horse and Chinese vase collection, antique fabrics and carefully selected flowers from her garden provide the subject matter from which she creates substance.

Capturing the essence of the human form through drawing has been Sherrie’s signature for many years. Her highly sought after book “The Language of Drawing” is a national resource for anyone seriously interested in understanding the simplicity and challenges of creating the illusion of life through line. A timeless, masterful quality is evidenced in each gesture and fully developed work. Those fortunate to own one of her drawings, understand that they own a part of history.

SUPPLY LIST

Paints (Vasari Paints or Old Holland)
Genuine Naples Yellow Light (Vasari Paints, ?vasaricolorsny@aol.com, 1-800-932-9375)
Yellow Ochre
Venetian Red or Terra Rosa
Cadmium Yellow Deep
Cadmium Yellow Light
Cadmium Red Light
Pthalo Blue
Ultramarine Blue
Burnt Umber
Raw Umber (Vasari or Windsor Newton)
Ivory Black
Alizarin Crimson (Vasari)
Transparent Oxide Red (Vasari or Old Holland)
Flake White (a.k.a. Cremnitz White, Silver White, Lead White) Get pure Lead White, not mixes (i.e., with Titanium or Zinc)

Brushes
Trekell Brushes (www.trekell.com). Hog Bristle regular filberts and/or long filberts (#2, 3, 4, 6, 8, 10, 12) suggested (if some sizes are not available in Trekkell; use another brand like Rosemary Brushes (www.rosemaryandco.com)

Preferred Medium
Maroger Flemish Formula (it allows the paint to flow) and Venetian Wax Medium (only use in the lights; it allows the paint to be fluid but at the same time remain thick)
(Old Masters Maroger,?www.oldmastersmaroger.com, 505-758-2382/ PO Box 1936/ El Prado, NM 87529 USA) DO NOT BUY ROBERSON’S MAROGER as it is nothing like the real Maroger, in feel or color and is a waste of money.

Preferred Surfaces: Smooth
Inner Glow Boards,?www.billewing.com, (1-877-430-3639). Both sides can be painted on, which encourages experimentation. On the second day of a painting, you can start the subject again on the reverse side, thereby warming up before tackling the first-day?s efforts. This trick can alleviate any nervousness about losing the start.

Portrait linen with lead priming from New Traditions (www.newtraditionsartpanels.com). This is a very smooth surface, but with the texture of linen. These boards are lightweight and thin as well. I recommend having them mounted on gatorboard.

Tone boards with a medium value using a medium and Ultramarine Blue and Burnt umber, or any neutral combination. Then use a paper towel to take off excess and create an even tone. The number of boards depends on how the student works. If you are interested in doing more ?starts?, then bring more boards, at least one a day. If you want to learn how to go past a particular “sticking point” in your work, then three should suffice.


Stretched linen canvases (for those with time and an industrious nature)

If double-primed, add one more coat of white lead and allow to dry for two weeks before using. Thin white lead (flake white, cremnitz white, silver white) with a little turpentine or Maroger and use painting knife to ?press? the paint into the holes of the canvas, not obliterating the weave, but filling up the holes. Then scrape off the excess. Continue process until the surface is smooth and yet still has the character of linen. This is the most sublime surface on which to paint.

How many canvases or boards to bring? It depends on the student’s level of experience. Those just starting out as well as those more experienced who want to make a big change in their work will want more boards in order to do more starts and experiments. Those that want help moving past a place in which they get “stuck” may want to work on fewer pieces and take them further in order to resolve the problem in class. However, no one will go wrong erring on the side of bringing more surfaces than needed. Bring varied sizes to accommodate different compositional ideas. Size is up to the student and what they feel they can handle.

Palette
Use Plexiglas or glass palette. If using Plexiglas, peel off the protective paper that has writing. If using glass, put a piece of cardboard on the back to give it a medium value while painting. Please do not bring paper palettes as their white color makes judging value very difficult. A280, L280, and OG280

Painting Knife
Please have a clean painting knife with a long, graceful shape. Use a razorblade to scrape off any encrusted paint.

Paper Towels
Bounty


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www.sherriemcgraw.com