Each year, the League hosts several dozen weekend and weeklong workshops. League instructors and prominent visiting artists work with intimate groups of about a dozen students. Workshops focus on a particular aspect of art-making (such as landscapes) or specific mediums or techniques (such as egg tempera or color spot painting). Workshops are generally held at the 57th St. location in Studio 6, or at the Vytlacil Campus. Although prices vary, workshops are generally priced as follows: weekend workshops are $265–$290; half-day weeklong workshops are $400–$425; and all-day weeklong workshops are $700–$800. A current schedule of upcoming workshops is available on the League website.
The League also offers workshops in Florence, Italy each spring, this year with Naomi Campbell and Thomas Torak.
Upcoming workshops are below followed by a description of payment policies. To register, visit the League's front desk, call (212) 247-4510, ext. 101 or e-mail info@artstudentsleague.org.
The Art Students League of New York admits students of any race, color, national, and ethnic origin.
Please note that photography and filming/taping of workshops is prohibited.
Please see below for refunds and withdrawal policies.
*Free transportation to Vytlacil Campus is provided.
Please visit the Vytlacil Campus page for more information.
Winter Workshops
Greg Follender: Dynamic Comic Book Illustration
From Anatomy to Panel Composition
A Series of Four Weekend Workshops in Sequential Art
Feb. 11-12, Feb. 25-26, March 10-11, March 24-25
Saturday & Sunday, 10:00 am - 4:30 pm
Fees:
One workshop: $265
Any two workshops: $500
Any three workshops: $750
All four workshops: $950
This workshop is designed to give students interested in comic book/graphic novel illustration and other sequential media a better understanding of how the drawn figure can interact both dynamically and convincingly in deep space or in an enclosed environment. Through basic, easy-to-follow anatomical formulas and the study of important body landmarks, students will be able to confidently render realistic or stylized figures in both natural and dynamic poses, and then place them realistically within a graphic frame of reference.
The importance of proportion, weight, perspective, and momentum will be addressed in both classical terms and with respect to exaggerated cartoon sensibility, and attention to character/mood definition through movement. With an additional focus on basic panel work and layout skills, students will learn how to block out and create engaging comic book pages through pencil roughs and tight thumbnail stages.
These powerful techniques, along with tips on facial expression and body gesture, will supply aspiring comic artists with the necessary tools to bring the characters and tableaus they see in their heads convincingly and dramatically to life in a sequentially graphic form!
February 11-12
Workshop 1: Introduction to Comic Book Illustration/ Basic Anatomy and Panel Structure
Overview of the comic book landscape including a brief history of sequential storytelling and its many applications. Exploration of the basic human form through quick life-drawing sketches and practical page/panel layout for a clear visual narrative. Introduction to comic page thumbnail presentation.
February 25-26
Workshop 2: Focus on Dynamic Posing and Page Layout
Strong focus on rendering the figure in natural and dynamic poses within a graphic frame of reference. Stress on proper proportion, weight, perspective, and momentum of figures will better help students to incorporate them into panel work. Full thumbnails of comic book page to be executed and critiqued.
March 10-11
Workshop 3: Working to a Finish
Taking sketched thumbnail layouts into finished pencils. Using the sketched framework from prior classes, students will produce a fully realized comic book page. Final figurative and environmental embellishment for further immersion and mood/story enhancement will be implemented. Discussion and critique of finished work with emphasis on personal style and importance of a clear narrative.
March 24-25
Workshop 4: Color Treatment
Using their completed penciled pages as templates, students will work out color schemes and tonal studies in thumbnail form. Utilizing color to establish environment, mood, and narrative tone will be discussed. Exercises utilizing chromatic schemas to portray both emotional resonance and the passage of time will help to show the importance of color and tone in comics/graphic novels. Varied coloring options will be explored and utilized in order to maximize the impact of the fully rendered comic book page.
June Julian
Drawing from Nature
February 23-24
Thursday-Friday, 6:00-9:30 pm
Fee: $160
Instructor present each day
Enrollment limited to 12 students
In this workshop, students will be guided through the careful observation and drawing of a wide selection of natural specimens, using traditional drawing media. Students will investigate examples of how artists have drawn their inspiration from nature throughout history. Studio time will include carefully considered studies of various natural forms, rendered alone and in groups, with emphasis on drawing technique, composition, scale, and content. At the end of the workshop, students will have created a portfolio of nature drawings.
June Julian has graduate art degrees from Pennsylvania State University and New York University. An internationally exhibiting artist and a recipient of numerous awards, Ms. Julian’s recognition includes a Fulbright Grant and a recent grant from the U.S. Department of the Interior for her recent ecology art project in New Mexico. She teaches at the University of the Arts in Philadelphia, and lives in New York City. For more information, please visit www.inliquid.com. Also, please see the web-gallery from Ms. Julian's previous workshop at tinyurl.com/julian-workshop.
Nicholas Raynolds
Figure Painting in Grisaille
February 27 - March 2
Monday-Friday, 9:00 am-12:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
"Grisailles," or monochromatic painting in oils, is a fundamental step in learning how to paint in a naturalistic way, and offers a logical transition from drawing to oil painting. Grisaille simplifies the challenging art of objective figure painting by allowing us to thoroughly examine "form as value," rather than color. Though not necessarily black and white, the grisaille is an important study as a precursor to working in color.
In this one-week workshop, students will develop a deeper understanding of value as a means of analyzing and assessing color and form. Working in oil paint from the live model, students will develop either a number of single sitting "poster" studies (small works that emphasize mass and shape) or a larger, long-pose study. Topics of discussion will include: composition, shape, mass and design; the anatomy of light and shadow as relates to the modeling of forms and features; an assessment of color based on value, hue and intensity; paint handling and material. This workshop is structured to be taken by itself or as a compliment to the afternoon workshop, "Portrait Painting in Limited Palette."
Nicholas Raynolds' formal studies in art were conducted in Düsseldorf, Germany; Vancouver and Halifax, Canada; Seattle, Washington; and in New York at the Water Street Atelier and Studio 126. Mr. Raynolds has taught in New York at the National Academy School of Fine Arts, the Long Island Academy of Fine Art, and the League. He has also taught at the Gage Academy of Art (WA) and Studio Incamminati (PA). Mr. Raynolds has exhibited nationally and abroad, including regularly with the John Pence Gallery (CA) and the Eleanor Ettinger Gallery (NY). His work is in national and international collections, including The Forbes Collection (NY). His work has been published in American Artist Drawing; The Artist's Magazine; American Art Collector; and on the cover of John Updike's novel, Seek My Face.
Nicholas Raynolds
Portrait Painting in Limited Palette
This workshop has sold out.
Please see the registrar to join a waiting list.
February 27 - March 2
Monday-Friday, 1:30 pm - 5:00 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Working from the live model, this one week workshop will offer students the chance to develop a single portrait painting in oil. Often used as an underpainting, the "limited" or "tonal" palette can be a complete expression in and of itself. The limited palette elaborates on the study of monochromatic painting with the introduction of hue and temperature. Based on a palette with as few as four colors, the complex problems of color relationships and paint handling are simplified. The surprising range of a limited palette can serve as a manageable base by which to extend the color spectrum into an ever-expanding degree of chromatic complexity.
Through demonstrations and hands-on practice, participants will consider methods of working that will increase their skills of perceptual observation and technical application. Topics to be considered include human anatomy, structure and proportional elements necessary for achieving a likeness; composition; the dynamics and anatomy of light and shadow, as they relate to the modeling of forms and features; an analysis of color relationships based on value, hue and intensity; technical aspects of paint application and handling; and more.
This workshop is structured to be taken by itself or as a compliment to the morning workshop, "Figure Painting in Grisaille."
Nicholas Raynolds' formal studies in art were conducted in Düsseldorf, Germany; Vancouver and Halifax, Canada; Seattle, Washington; and in New York at the Water Street Atelier and Studio 126. Mr. Raynolds has taught in New York at the National Academy School of Fine Arts, the Long Island Academy of Fine Art, and the League. He has also taught at the Gage Academy of Art (WA) and Studio Incamminati (PA). Mr. Raynolds has exhibited nationally and abroad, including regularly with the John Pence Gallery (CA) and the Eleanor Ettinger Gallery (NY). His work is in national and international collections, including The Forbes Collection (NY). His work has been published in American Artist Drawing; The Artist's Magazine; American Art Collector; and on the cover of John Updike's novel, Seek My Face.
Ephraim Rubenstein
Introduction to Pastel
This workshop has sold out.
Please see the registrar to join a waiting list.
March 3-4
Saturday-Sunday, 10:00 am-4:30pm
Fee: $225
Instructor present each day until 2:00 pm (the last part of class is studio time supervised by the monitor)
Enrollment limited to 15 students
This weekend workshop in pastel will help students get started in the use of soft pastel only (not oil pastel!). Considered drawing by some and painting by others, using soft pastel presents a number of technical problems that will be addressed during the workshop. Topics will include a thorough review of materials (papers, boards, grounds and the pastels themselves), as well as procedural concerns (working hard to soft, dark to light, blending versus hatching and fixing). The class will work from still life set-ups.
Ephraim Rubenstein received his B.A. in Art History from Columbia University and his M.F.A. in Painting from Columbia University's School of the Arts. Mr. Rubenstein has had ten one-person exhibitions in New York: at Tibor de Nagy Gallery, Tatistcheff & Co., and most recently at George Billis Gallery in Chelsea. He has also exhibited at the Butler Institute of American Art, the Virginia Museum of Fine Arts, and the National Academy of Design, where he won the Emil Carlsen and Beatrice Laufman Awards. His work is represented in numerous public and private collections, including The Metropolitan Museum of Art. Mr. Rubenstein is an active teacher and is currently on the faculty at Columbia University and the National Academy of Design, as well as at the Art Students League. For more information, visit www.ephraimrubenstein.com.
Silya Kiese
Experimental Writing in Art
March 5–7
Monday–Wednesday, 6:00 pm–9:00 pm
Fee: $220
Enrollment limited to 12 students
Students may bring laptops
This workshop explores writing using imagination, dream-like images and lyrical experimentation inspired by art, story-telling, performative arts, dance and theatre. Students will utilize writing as a source-text and as an experiment to write word - compositions. This seminar will examine the potentials of word and text; students will be encouraged to experiment with forms and styles of writing. Ms. Kiese will provide diverse visual presentations, including pieces by contemporary artists and writers who work with images in two and three dimensions and text. Readings will include writings by Gaston Bachelard The Poetic of Space; legendary, imaginative writings by Antoine de Saint-Exupéry; and selected readings in art, aesthetics and writing.
Silya Kiese is a leading practitioner in contemporary art. She combines sculpture, object making, and performance art in her kinetic art, sculptural sound objects, and installations. She uses performative materials, such as light, sound and the human voice, to demonstrate the diversity and magic in human gestures and socio-cultural performative movements. Ms. Kiese has introduced her performative installation art as a visiting artist at Rutgers University, Johann Wolfgang Goethe University, and University of California, Berkeley. She has taught and lectured post-modern and contemporary art at Evergreen State College, Seattle Pacific University, and the School of Visual Arts. Ms. Kiese is known for creating inventive and inspiring environments in the classroom.
Jerry Weiss
Large Scale Figure Drawing
March 12-13
Monday–Tuesday, 1:30 pm–8:00 pm
Fee: $290
Instructor present each day
Enrollment limited to 10 students
Recommended for intermediate and advanced students
In this workshop, students will draw the life-size figure on six-foot lengths of paper. Attention will be devoted to quality of line, observation of the rhythms of the standing figure, proportion, and modeling of sculptural forms through value. Topics of discussion and demonstration will include the initial blocking-in of the drawing, use of lines for comparison, attention to prominent anatomical landmarks, and shading and rendering of form through massing and linear hatching. While this practice is useful as preparation for large-scale painting, it also serves as a complete experience in and of itself. Poses range in length from one hour on Monday to a single pose on Tuesday, allowing students to build from a rapid gestural approach to a drawing of greater resolution. Each day will feature demonstrations by the instructor.
Jerry Weiss studied with Roberto Martinez in Florida, and with Harvey Dinnerstein, Robert Beverly Hale, Ted Seth Jacobs, Mary Beth McKenzie, and Jack Faragasso in New York. He has had one-man shows at the Boca Raton Museum of Art and the Lyme Academy College of Fine Arts, among others. His work is in the collections of the New Britain Museum of American Art; the State Capitol Building, CT; and the Harvard Club of New York City. His work and teaching methods have been featured in American Artist Workshop and American Artist Drawing, and he is Contributing Editor for The Artist’s Magazine. He is represented by The Cooley Gallery, CT; Portraits Inc., NY; and Ingram Fine Arts, SC. For more information, please visit www.jerrynweiss.com.
Leonid Gervits
Hands and Feet
March 12–16
Monday–Friday, 9:00 am – 12:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Human extremities are both important and difficult parts of human depiction. Hands are especially meaningful for portraiture—almost as important as the face. To obtain the mastery for capturing both, one needs to grasp core ideas of their structures (the fundamentals that create the foundation of understanding), as well as practice working from life.
This workshop is dedicated to familiarizing students to those ideas. Students will learn from anatomical exploration, as well as from the instructor’s international experience of teaching those topics in the manner of European academies (like Repin Academy in St. Petersburg and German Academy in Dresden). The workshop will include drawing and painting from the model, anatomy casts and skeleton. All levels are welcome.
Leonid Gervits belongs to the European/Russian realist tradition of painting and drawing. In 1966, he graduated from the Odessa Art College; and in 1973, he received an MFA from Repin Academy, where he later worked as a professor for sixteen years. Mr. Gervits moved to the United States in 1991, working as an instructor at the New York Academy from 1992 to 2000. He has been an instructor at the Art Students League since 1997. An artist of the realist tradition and of serious academic training, Mr. Gervits is able to work in a broad spectrum of genres. For more information, visit www.gervits.com.
Wendy Shalen
French Inspired Drawing
Includes Drawing at The Metropolitan Museum of Art
March 14-16
Wednesday-Friday, 1:15–4:30 pm
Fee: $265
Instructor present each day
Enrollment limited to 12 students
Wendy Shalen just returned from drawing in Paris for one month working mornings from the nude model and afternoons drawing at the Louvre. This class will try to simulate part of that experience using the Metropolitan Museum’s drawing collection as inspiration. The workshop is open for all levels and will be working two days from the model and one day drawing from selected artwork in the Drawing Study Room of the Metropolitan Museum of Art. In the studio we will work from the nude or clothed model on toned paper creating limited color tonal drawings (aux trois crayons) in black, white and red using charcoal, or pierre noir, sanguine, white charcoal and Col-erase or pastel pencils.
Wendy Shalen is a highly acclaimed artist, whose work has been featured at numerous galleries, museums and private collections, including Abbot & Holder, London; Allan Stone Gallery, New York; The Katonah Museum of Art, New York; and The Housatonic Museum of Art, Connecticut. A graduate of Brandeis University (magna cum laude), Wendy Shalen studied at the Art Students League with Daniel Greene, Harvey Dinnerstein and Robert Beverly Hale, and privately with Burton Silverman. Additional information and images can be found on www.wendyshalen.com.
Robert Kogge
Beautiful Surfaces with Ink Wash and Colored Pencils
March 19–23
Monday–Friday, 8:45 am–12:30 pm
Fee: $400
Instructor present each day
Enrollment limited to 10 students
By working directly with colored pencils and ink wash on unprimed canvas, this workshop presents an approach that challenges the boundaries of painting and drawing: it joins the two in a single process, acting as an alternate or extension to more traditional methods.
This approach demonstrates the significance in personalizing one’s materials and methods to best suit and enhance individual aesthetic sensibility. How one creates is regarded with highlighted importance in relation to what one creates; it is promoting expression by way of means and methods. These media elect the heavy weave of the canvas as the dominant but impersonal mark, distilling positive and negative space evenly, and rendering a particulate profile to the image emerging through the landscape of its woven ground.
Mr. Kogge’s introduction consists of a brief history of his own experience in developing this technique. Other prominent examples will be noted, in particular George Seurat, as well as Paul Cezanne, Marcel Duchamp, Jackson Pollack, Jasper Johns, Robert Rauschenberg, Louise Nevelson, Andy Warhol, and Chuck Close—to name just a few whose departure from traditional methods was critical in realizing their particular vision. A demonstration of materials and procedure follows this discussion. Students may choose to work from photographic sources or from still life.
Robert Kogge studied at the Parson's School of Design and in Europe. He has received numerous fellowships and awards, from institutions including the Ludwig Vogelstein Foundation, the Pollock-Krasner Foundation, the Geraldine R. Dodge Foundation, and the New Jersey State Council on the Arts. Mr. Kogge has had numerous solo exhibitions at galleries in New York, San Francisco, Nashville, and Birmingham. His work is in the collections of the New Jersey State Museum, Chase Manhattan Bank, Prudential Insurance Co. of America (Newark, NJ), American Interactive Media (Los Angeles, CA), Rutgers University (Newark, NJ), and several other institutions.
Daniel Hauben
Inspiration to Realization: Using Computer Technology to Assist in the Painting Process
March 19-23
Monday-Friday, 6:00 pm-9:00 pm
Fee: $420 (includes $20 materials fee)
Instructor present each day
Enrollment limited to 12 students
Now in the final stages of a two-year, twenty-two painting public art commission, Daniel Hauben will share his technique of integrating computer technology into the traditional painting process.
Students will participate in all the steps leading from the idea to the final painting.
These steps include: Creating a digital image inventory; Choosing appropriate imagery; Customizing images in Photoshop; Preparing the painting surface; Transferring the digital image; and Refining the painting.
This workshop will also include an introductory PowerPoint presentation.
Daniel Hauben has had over thirty solo exhibitions. His public commissions include the current twenty-two painting commission for a new library on the campus of Bronx Community College. Mr. Hauben has been awarded artist residencies in Costa Rica, Spain, Germany, California, Virginia and Connecticut. His work is in corporate and public collections including the White House, Library of Congress, Museum of the City of NY, New-York Historical Society and Harvard University. Mr. Hauben studied at the School of the Museum of Fine Arts (Boston) and earned his BFA from the School of Visual Arts (New York). He teaches drawing at C.C.N.Y.'s School of Architecture.
Gabriela G. Dellosso
Creating Dramatic Paintings Using Light
March 26-30
Monday - Friday
7:00 pm -10:00 pm
Fee: $375
Enrollment limited to 15 students
This workshop will focus on developing abilities to create powerful paintings. Students will paint from a dramatic set-up with a live model. The instructor will work with each student and discuss how to organize shapes, light and color to create paintings that have strong focal points. Emphasis will be placed on teaching students how to interpret what is in front of them to create clear effective works. Lectures will include examples of successful compositional work. This class is for any artist looking to improve their painting and compositional skills.
Click here for a video of Gabriela speaking about her work.
Gabriela Gonzalez Dellosso received her BFA from the School of Visual Arts in New York. Her work is part of several permanent museum collections, and was most recently exhibited in the New Britain Museum of American Art's important exhibition: WomenArtists@TheNewBritainMuseum. Gabriela has had solo exhibits at the Butler Institute of American Art and the Eleanor Ettinger Gallery. Her creativity has garnered her over 25 awards in the past decade, including Gold Medals from the Catharine Lorillard Wolfe Art Club and the Pastel Society of America. Among the publications that have featured Gabriela's work are: The Artist's Magazine, American Artist Magazine, American Art Collector Magazine, Fine Art Connoisseur and ARTnews. She teaches at the National Academy School of Fine Arts and The JCC in Manhattan. Her work is represented by the Eleanor Ettinger Gallery. For more information, please visit www.gabrieladellosso.com.
Martha Bloom
Collage and Assemblage
April 2-5
Monday–Thursday, 1:30 pm–5:00 pm
Fee: $320
Instructor present each day
Enrollment limited to 11 students
In this workshop, students are encouraged to express their unique vision through a variety of collage and assemblage techniques, including printing and transferring images onto experimental and archival materials. The use of mixed media can be infinitely freeing, leading to inventive ways of personal expression that fit between the content of thought and the seductive qualities of matter. Students should bring any materials to work with: found objects, magazines, cloth, wood, metal, plastic, etc.
Martha Bloom has been making art and teaching it professionally for thirty-five years. She is currently an instructor at the National Academy School of Fine Art, the Art Students League of New York, and the Silvermine School of Art. She has taught numerous outreach programs and workshops under the auspices of many cultural and art institutions including Bob Blackburn Printmaking Workshops, the New York State Council on the Arts (NYSCA), and most recently the Aldrich Museum. Her work has been shown and collected regularly by well-known galleries and personalities, including Will Barnet. For more information, please visit www.marthabloom.com.
Leonid Gervits
Copying Masterpieces at The Metropolitan Museum of Art:
Theory and Technique
8 Fridays: 4/6, 4/13, 4/20, 4/27, 5/4, 5/11, 5/18, 5/25
12:30–4:00 pm
Fee: $760 (includes fee for the Met)
Instructor present each day
Enrollment limited to 11 students
Image right: Juan de Pareja by Velázquez,
The Metropolitan Museum of Art
This is an oil painting workshop that will teach old master techniques, through hands-on study and application next to each student’s selected masterpiece. Interested applicants must complete this application form and either email it to anki@artstudentsleague.org, or return it in person to the main office.
Only one student is allowed per room, and early applicants are given priority regarding work selection. (The sooner you apply, the greater the chances that you will get the work you wish to copy!) Based on applicant’s prior experience, the instructor may make additional suggestions of work to copy. Once the work to copy has been approved, Anki will contact each selected student to register. Students are expected to research their selected work, including the artist and the technique of the time. The instructor will further introduce the topic, and suggest literature with concern to the selected art piece.
Leonid Gervits belongs to the European/Russian realist tradition of painting and drawing. In 1966, he graduated from the Odessa Art College; and in 1973, he received an MFA from Repin Academy, where he later worked as a professor for sixteen years. Mr. Gervits moved to the United States in 1991, working as an instructor at the New York Academy from 1992 to 2000. He has been an instructor at the Art Students League since 1997. An artist of the realist tradition and of serious academic training, Mr. Gervits is able to work in a broad spectrum of genres. For more information, visit www.gervits.com.
David Kassan
Investigating the Contemporary Portrait in Oils
April 9–13
Monday – Friday
AM Session: 10:00 am – 1:00 pm
PM Session: 2:00 – 5:00 pm
Fees:
AM or PM Session: $375 / Both sessions: $725
Instructor present every day
Enrollment limited to 12 students
The focus of this course will be on advanced life painting and drawing methods to investigate the underlying rhythm, expression and emotion of the modern portrait.
Students will work to develop a clarity of vision that is essential for accurate observation, learning to focus on what is in front of them without being overwhelmed. Through this intensive observation students will explore the uniqueness of individual features and their relationship to each other as part of a coherent whole. An emphasis will be placed on understanding the structure of the model, as well as the artist's analysis and interpretation. All questions will be answered both visually and verbally. The majority of this workshop's instruction will be one-on-one coaching, in order to help diagnose any stumbling blocks that students may have. Students will execute preliminary drawings before moving on to full-scale oil paintings. Instruction will include discussion of practical technical information on different paint qualities, pigments, palettes, mediums, and paint supports. This will be an intensive painting practicum with a concentration on the artist as a whole. Students will be challenged to develop a strong foundation from which to explore and evolve.
David Kassan studied painting and art history at Syracuse University, the Art Students League of New York, and the National Academy School of Fine Art. He has lectured at many schools around the country including Rochester Institute of Technology, Arizona State University, Western Illinois University, Syracuse University, the National Academy School of Fine Art, and the University of Alabama. He has taught at the National Academy School of Fine Art, the Cathedral of Saint John the Divine, the Salmagundi Club and at the 72nd Street Studio. Mr. Kassan has conducted many international painting seminars, including workshops in Iceland, Australia, Portugal, Belgium and Spain. He has been a contributor to many different art publications, including a two-year column in Drawing Magazine on the topic of understanding anatomy. David Kassan is currently represented by Gallery Henoch. For more information, please visit www.davidkassan.com.
Sylvie Covey
Photoshop for Artists
April 10–13
Tuesday – Friday, 6:00-9:00 pm
Fee: $320
Instructor present each day
Enrollment limited to 10 students
This workshop is designed for painters, printmakers and visual artists who want to discover and develop their computer skills with Photoshop and apply them in various techniques of visual fine arts. This course will cover: drawing and painting digitally; working with layers and masks; learning color modes and adjustments; transforming, editing and retouching images; sepia toning; and using infrared and Sabattier effects. Materials will be provided by the instructor for tutorials and the students will also work from their own images and photographs.
Computer requirements: Students must bring their own laptops (Mac or PC) with Photoshop software installed (there is a free 30 day trial version).
Sylvie Covey is currently an instructor at the Art Students League, FIT, and the Art Center of Northern New Jersey. She studied at the École Nationale Supérieure des Arts Décoratifs in Paris, and received a BA from Empire State College and an MFA from Hunter College. Ms. Covey has been represented by Denise Cadé Gallery and is currently represented by the Old Printshop Gallery in New York City. For more information about the artist, visit www.sylviecovey.net.
Deborah Winiarski
Encaustic Monotype Printmaking
Vyt Workshop
April 14–15
Saturday–Sunday, 10:00 am–4:30 pm
Fee: $290 (includes $15 materials fee)
Instructor present each day
Enrollment limited to 12 students
Free shuttle service: You must have registered for the workshop to use the shuttle. Please notify security that you wish to be on the shuttle, and they will notify you when it arrives.
This workshop combines the directness and immediacy of the monotype with the richness and luminosity of encaustic painting. This versatile process eliminates the multiple steps of encaustic painting and the toxicity of inks and solvents of traditional printmaking on a press. Drawing with pigmented wax, students will create one-of-a-kind prints by ‘pulling’ their painted image directly from a heated plate – no printing press required! Encaustic monotype lends itself to natural and spontaneous mark making, allowing for extensive creative exploration. Additional techniques including stenciling, stamping and blocking will be explored the ‘encaustic’ way. Demos and discussions will include paper possibilities, wax recipes, basic studio set-up, etc.
Whether used as a primary body of work or combined with mixed-media, collage or book arts, encaustic monotype offers endless possibilities for today’s artist. Ample time for hands-on work will be provided. No prior experience in encaustic painting or printmaking is necessary for this workshop. Prior workshop registrants are welcome.
Deborah Winiarski has been teaching encaustic workshops at The Art Students League of New York since 2009. Her encaustic work has been exhibited at venues across the United States including Denise Bibro Fine Art and Kouros Gallery, both in New York City, and, most recently, at Heather James Fine Art, Palm Desert, CA, and Jackson, WY. Her most recent solo exhibition took place at the Narthex Gallery at Saint Peter’s Church, New York City, in 2009.
Frederick Brosen
Introduction to Watercolor
April 14-15
Saturday-Sunday, 10:00 am – 4:30 pm
Fee: $265
Instructor present each day
Enrollment limited to 12 students
This workshop will introduce students to the classic transparent watercolor technique. Wet-in-wet, wet on dry, scumbling (or drybrush) and point of brush techniques will be demonstrated as well as basic approaches to elements of landscape painting; skies, trees and architecture. The first day demo will include a lecture; the second day students will apply the demonstrated techniques under the teacher’s guidance. A material list is available in the League office.
Frederick Brosen’s watercolors have been featured in numerous museum and gallery exhibitions across the country, and his works are in the permanent collection of many museums. In 2006 a book on his NYC paintings, Still New York, was published with an introduction by Ric Burns. In May of 2012 he will have a solo show at the Museum of the City of New York at their new South Street Seaport location. He is represented by Hirschl & Adler Galleries and will have a show at their New York gallery in the fall of 2013.
Ephraim Rubenstein
Oil Painting for Beginners
April 16-20
Monday - Friday
8:45 am - 12:30 pm
Fee: $400
Enrollment limited to 13 students
This workshop will give beginning students a complete introduction to the materials and methods of oil painting, and sufficient time to begin putting this information into practice. Particular attention will be given to color choice and setting up the palette, as well as to brushes, mediums and supports. Emphasis will be on direct painting, including a la prima and color-spot painting. Work will be from still life.
Ephraim Rubenstein received his B.A. in Art History from Columbia University and his M.F.A. in Painting from Columbia University's School of the Arts. Mr. Rubenstein has had ten one-person exhibitions in New York, at Tibor de Nagy Gallery, Tatistcheff & Co. and most recently at George Billis Gallery in Chelsea. He has also exhibited at the Butler Institute of American Art, the Virginia Museum of Fine Arts, and the National Academy of Design, where he won the Emil Carlsen and Beatrice Laufman Awards. His work is represented in numerous public and private collections, including The Metropolitan Museum of Art. Mr. Rubenstein is an active teacher and is currently on the faculty at Columbia University, the National Academy of Design, and the Art Students League of New York. For more information, please visit www.ephraimrubenstein.com.
Brandon Soloff
Portrait Painting Intensive Workshop
April 16–20
Monday–Friday, 1:30pm–5:00 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
This workshop will focus on learning how to characterize a head in a drawing or painting. Special consideration will be given to the history of portraiture; different techniques and approaches; drawing fundamentals; and most importantly, composition. Students can either draw or paint as they prefer. Instruction will be given in the form of lectures, individual critiques and demonstrations. Students who wish to try an underpainting/grisaille approach will be given instruction accordingly. Students who prefer to paint alla prima to study color values and paint application are encouraged to do so. The workshop is open to students of all levels.
Brandon Soloff is a classically trained painter and portraitist, whose work has been commissioned throughout the United States and Europe. The primary focus of his work is people: portraits and nudes. He believes it is essential to paint from life. Soloff has exhibited his work at the Hirschl & Adler Gallery, Alan Stone Gallery, Hammer Galleries, Royal Society of Portrait Painters (London), Meredith Long & Company, Copley Society of Boston, Galerie Alexandre Butman (Paris), and others. Institutions where his portrait work is found, or affiliated with, include the Tuck School of Business at Dartmouth College, Morgan Stanley, Westmont College, KKR (Kohlberg, Kravitz, Roberts & Co.) and others. For more information, visit www.brandonsoloff.com.
Brandon Soloff
Portrait Drawing Workshop
April 16–20
Monday–Friday, 6:00–9:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
This workshop will focus on learning to characterize a head in a drawing. Special consideration will be given to the history of portraiture; different techniques and approaches; drawing fundamentals; and most importantly, composition. Instruction will be given in the form of lectures, individual critiques and demonstrations. Special attention will be given to a discussion of the structure of the head, as well as graphic elements and accents. Students will be able to use charcoal, pencil, chalk, ink, or mixed media as they prefer. The workshop is open to students of all levels.
Brandon Soloff is a classically trained painter and portraitist, whose work has been commissioned throughout the United States and Europe. The primary focus of his work is people: portraits and nudes. He believes it is essential to paint from life. Soloff has exhibited his work at the Hirschl & Adler Gallery, Alan Stone Gallery, Hammer Galleries, Royal Society of Portrait Painters (London), Meredith Long & Company, Copley Society of Boston, Galerie Alexandre Butman (Paris), and others. Institutions where his portrait work is found, or affiliated with, include the Tuck School of Business at Dartmouth College, Morgan Stanley, Westmont College, KKR (Kohlberg, Kravitz, Roberts & Co.) and others. For more information, visit www.brandonsoloff.com.
Frank O’Cain
Color Creates Light, Space, Emotions
Vyt Workshop
April 21-22
Saturday–Sunday, 10:00 am–4:30 pm
Fee: $265
Instructor present each day
Enrollment limited to 20 students
Free shuttle service: You must have registered for the workshop to use the shuttle. Please notify security that you wish to be on the shuttle, and they will notify you when it arrives.
This workshop will help the painter to gain an understanding of the psychology and emotional impact of color. A discussion of some of the most important color theorists will be touched upon. The student is expected not to adhere to rigid color theories, but to use it as a guide in creating their own color sense. How to create luminosity, inner light, simultaneous contrast, moods, harmony, etc. will be demonstrated. There will be hands on mixing of color and notes taken before painting. We seek the harmony nature provides either from a still life or landscape if the weather permits. Demonstrations will be provided along with the handouts. A critique and group discussion concludes the workshop.
Frank O'Cain studied at the Art Students League of New York, with part of that time under Vaclav Vytlacil. He has had one-man shows at Purdue University; the Miriam Perlman Gallery in Chicago; the Saginaw Art Museum and the Ella Sharp Museum in Michigan; the Princeton Art Association; Levitan Gallery I and II in New York; and Northern Illinois University. He also had one-man shows in both Basel and Zurich, Switzerland, and was represented by the Theano Stahelin Kunstsalon in Zurich. Mr. O’Cain is represented by the Midwest Museum of American Art in Indiana, the Saginaw Art Museum in Michigan, and the D. D. and B. Gallery in New York. Mr. O'Cain is an instructor at the Art Students League of New York.
Karen O'Neil
Still Life - Color and Light
April 21-22
Saturday-Sunday
10:00 am - 4:30 pm
Fee: $280 (includes a $5 materials fee)
Enrollment limited to 15 students
Instructor present each day
This workshop will explore the relationship between color and light. Beginning with a still life demonstration in oil, students will be encouraged to use larger brushes, simplify form, and sharpen value and color perception. Focus will be on composing a painting, and constructing a painting using value and color planes. Still life set-ups will be provided, as will individual instruction for all levels.
Karen O'Neil has exhibited widely throughout the United States, and has led oil painting workshops throughout the Northeast for the past decade. Her work is included in many private and corporate collections. After receiving a BFA from Massachusetts College of Art, Ms. O'Neil studied with the late Henry Hensche in Provincetown, Massachusetts. Her work has been featured recently in The Artist's Magazine. She is an instructor of painting and drawing at the Art Students League's Vytlacil Campus and the Woodstock School of Art. For more information and images, please visit www.karenoneilpaintings.us.vu
Timothy J. Clark
Figure Painting in Watercolor 
The Next Step
April 23-27
Monday - Friday, 8:45 am - 12:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 14 students
This workshop is designed for watercolor painters with experience. The workshop emphasizes painting the figure from life, with a special focus on transitioning toward larger scale paintings. In addition to creating spirited small studies, each student also has the space, opportunity and guidance to create one large watercolor while working from the model. Techniques for controlling the surface, mixing sufficient amounts of paint, preparing a large scale layout, and estimating drying color shifts are also covered. Oversize board and paper are provided.
Timothy J. Clark's watercolor and oil paintings are represented in permanent museum collections including the Smithsonian's National Portrait Gallery, The Butler Institute of American Art, Maine's Farnsworth Art Museum, and the Museum of the City of New York. He has exhibited in international exhibitions at the Allied Museum in Berlin, Germany; the Danubiana Museum in Bratislava, Slovakia; and the Topkapi Museum in Istanbul, Turkey. A faculty member at the Art Students League of New York, Clark has also taught at the University of Hawaii at Hilo, the Worcester Museum of Art in Massachusetts, the National Academy School in New York, and Yale University's Graduate School of Architecture's Continuity and Change Program in Rome. He was named one of the "20 Great Teachers in America" by Watercolor magazine in Fall 2006 and again in 2009.
Max Ginsburg
Painting a Figure Composition from Life
April 23-27
Monday – Friday
PM Session: 1:30 – 5:00 pm
Eve Session: 6:00 – 9:30 pm
Fees:
PM or Eve Session: $425
Both sessions: $800
Instructor present every day
Enrollment limited to 12 students
Construct painting compositions of several figures using live models. We will base our approach on the realistic traditions of the Old Masters (including Caravaggio, Rembrandt, Tiepolo and Sorolla) to achieve a natural choreography, a sense of three dimensional space and atmosphere, and the dramatic use of lights and darks. The use of color as form—and not as decoration—will also be one of our goals in painting these compositional layouts, sans details. Mr. Ginsburg will be present daily to demonstrate and instruct.
Max Ginsburg has exhibited extensively. He recently had a retrospective at the Butler Institute of American Art (Sept. 15–Nov. 11, 2011) and at the Salmagundi Club (summer of 2011). He has also won many awards, most recently the “Best in Show” in the Art Renewal Center online competition of 2011 for his War Pieta painting. Two of his paintings, Bus Stop and War Pieta, will be touring five museums in China with the World Art Museum and ACOPAL in 2012. He was one of America’s foremost illustrators (1980-2004). He has taught art for over 40 years, including at the Art Students League. Ginsburg has recently published a new art book of his paintings from 1956 to 2010, Max Ginsburg: Retrospective. For more information, please visit www.maxginsburg.com and www.ginsburgillustration.com.
Lisa L. Cyr
Experimental Painting: Inspirational Approaches in Mixed Media 
April 28–29
Saturday–Sunday 10:00 am–4:30 pm
Fee: $275
Instructor present each day
Enrollment limited to 12 students
This hands-on workshop will investigate exploratory methodologies, techniques and approaches in mixed-media art. Throughout the workshop, many exciting in-depth demonstrations will be shown, providing an extensive array of visually-stimulating possibilities for artists to explore. Both two-dimensional and three-dimensional mixed-media techniques will be covered, including employing alternative working grounds, using custom tools, toning the painting surface in imaginative ways, creating a tactile ground, building the visual architecture and utilizing innovative mixed-media techniques to create intriguing effects. To assist artists in their own creative path, topics on nurturing the creative spirit, developing personal content through journalism, embracing a multidisciplinary mindset and creating message-driven art will also be discussed. For artists who are looking to push their work to a new level, this workshop will be a valuable resource and an ongoing source for creative inspiration.
Watch a video of Cyr's experimental painting
process by clicking icon to the left.
Lisa L. Cyr is an accomplished multidisciplinary artist and author 
with a content-driven approach. Her highly imaginative, fantasy-inspired works use layers of metaphor and allegory to stimulate curiosity, provoke thought and encourage further inspection. A 
poetic, rhythmic synthesis of drawing, painting, collage and assemblage, Cyr’s visually tactile, mixed-media work is composed to collectively create a new reality with a more expressive, symbolic arrangement. An artist member of the Society of Illustrators NYC and the International Society of Experimental Artists, Cyr’s work has been featured in numerous magazines, books and online. She has authored seven books on art and design and writes for many of the creative industry’s leading art publications. In addition, Cyr teaches in several of the top MFA graduate programs and lectures across the country. For more information, visit www.cyrstudio.com.
Peter Cox
First Impressions: Rendering Fabric and Skin 
On the Costumed or Draped Model
April 30–May 4
Monday–Friday, 9:00 am–12:30 pm
Fee $425
Instructor present every day
Enrollment limited to 10 students
Drapery and clothing were important elements in Renaissance Art. In the Northern European countries, garments, and their sharp folds, were intended to be “carriers of movement”. These folds moved the viewer’s eye, enhancing the psychological drama in the person depicted. In Southern Europe, the body was the “bearer of the garment”, and clothes were a minimalist extension of human form. Both points of view represent two distinct “lives” in one person. We must feel the body under the integrity of the garment, while describing the texture and personality of the wearer’s skin. The difficult task of painting these ‘two lives” in one person must be established in the “First Impression”, or direct painting of both elements. To accomplish this we will employ a specialized limited palette used by the artists of that period, and an alternate image pose by the model while she is clothed and nude. Both tools will help us confront and address the intriguing process of painting the costumed model.
In addition to ten solo shows in New York, and numerous shows in other parts of the country, Peter Cox has lectured and given workshops at Syracuse University, the Arnot Museum, and the Portrait Society of America. He has taught in New York City at the Art Students League, the National Academy, and the New York Academy. His work is represented in many private collections, as well as the Redding Museum, the Arkansas Art Center, the National Academy of Design, and the National Arts Club. Awards, reviews, and magazine articles on his work are available online. For more information please see www.petercox.us.
Esther Smith
Artist Books—A Structural Approach
April 30–May 4
Monday–Friday, 1:30–5:00 pm
Fee: $400
Instructor present each day
Enrollment limited to 12 students
Artist books work as containers for drawings, paintings, prints, collages, and even experimental and electronic media. This workshop explores a new approach each day, with students first making quick models and looking at artist books, and then developing their pieces in the studio. Students will make books from Eastern and Early Western traditions that require only a few tools and almost no glue: simple stitched books, accordion-based forms, and simple pop-ups. Students will make their own long-stitch leather- covered sketchbooks with their favorite drawing paper.
Esther K. Smith is the author of How to Make Books (Random House). She makes collaborative limited edition artist books with printer Dikko Faust and other artists at Purgatory Pie Press. Solo exhibitions include those at The Metropolitan Museum of Art, Victoria & Albert Museum (London), Rhode Island School of Design (RISD), and Harvard University. Her work is in the collections of the Museum of Modern Art, the National Gallery, the Whitney, Cooper Hewitt, and the Tate. Smith has taught how to make artist books at Cooper Union since 1992, and has been a visiting artist at Maryland Institute College of Arts (MICA), Center for Book Arts, RISD, Princeton University, London College of Communication, Camberwell College of Arts (London), and many other institutions.
Ed Watkins
Photographing Your Work (Digital)
May 2-3
Wednesday - Thursday, 6:00 – 9:30 pm
Fees:
Both days $160
Instructor present each day
Enrollment limited to 12 students
This two day workshop will show how to take great pictures without much equipment. Bring your own digital camera. Any application is only as good as the images you submit and in this workshop students will be given information through demonstrations and studio work, preparing them to document their art more accurately.
Day one will focus on basic equipment needs; lighting and backgrounds. Students will learn techniques how to photograph 2 and 3 dimensional art.
Day two will show each student how to set up their own camera to obtain the correct color of their photographs along with a demo on simple Photoshop cropping, sizing and fixes.
Ed Watkins has been photographing art for the past 33 years, working for some of the most prestigious art dealers, collections, fine arts institutions and art directors in New York City. His work has been published in numerous art books and catalogs including the Art Students League of New York. For the past four years he has been working with the curatorial department of newly reopened Museum of Arts and Design helping them archive their entire collection.
Sherry Camhy
Anatomy of a Portrait: Smile, Smirk, Sneer, Surprise, Shock, Sorrow
May 7–11
Monday–Friday
8:45 am–12:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Go beyond likeness— capture character, express emotion! Study the skull for form, the features for likeness, and the muscles for facial expression. Work from the model in the medium of your choice in a series of short and long poses. Capture fleeting expressions and psychological insights.
Sherry Camhy’s work is in the collections of the New Orleans Museum of Art, The Israel Museum, the Telfair Museum, and the New York Public Library. Her work has been on exhibit at the Katonah Museum of Art, the Parrish Museum, The Aldrich Contemporary Art Museum, the Sherry French Gallery, and the Eleanor Ettinger Gallery, among others. She is the author of Art of the Pencil, and her work has been reviewed in ARTnews, American Artist, Drawing, and Fine Art Connoisseur magazines. She studied anatomy at the League with Robert Beverly Hale and dissecting at New York University Medical School. She received a Masters in Art Education from Columbia Teachers College. Sherry Camhy has taught at NYU Tisch School of the Arts, the School of Visual Arts, and the New York Academy of Art. She currently gives private workshops in her studio in West Chelsea. For more information, please visit www.sherrycamhy.com.
Lucy Fradkin
Mixed Media Narrative Collage
May 7-11
Monday -Friday, 4:00–7:30 pm
Fee: $400
Instructor present every day
Enrollment limited to 12 students
Lucy Fradkin’s engaging works on paper draw inspiration from the detailed compositions, resplendent color and narrative quality of the art of early civilizations, Indian and Persian miniatures and a variety of sacred and folk arts. Students will create mixed media works on paper using paint and collage to create unique works which express personal stories with symbolic meaning. Art techniques will focus on line, composition, color, pattern and the use of collage as a design element. Demonstrations will include mapping out a painting and archival collage techniques. Although students will work independently on projects, daily discussions and critiques will be integral to this workshop.
Lucy Fradkin is the recipient of numerous prestigious awards including a Pollock-Krasner Grant, an Adolph and Esther Gottlieb Foundation Grant, a Sharpe Foundation Studio Grant, and two Fellowships in Drawing/Works on Paper from the New York Foundation for the Arts. She has taught at a myriad of institutions, including PS1 Museum, the Queens Museum and Anderson Ranch Arts Center. She has exhibited at the Smithsonian National Portrait Gallery, the American Academy in Rome, and many other national and international venues. Her work has been reviewed in a number of publications, including The New York Times and The Boston Globe. She is represented by the Nancy Margolis Gallery in Chelsea.
Ephraim Rubenstein
Introduction to Gouache
May 12–13
Saturday–Sunday, 10:00 am–4:30pm
Fee: $225
Instructor present each day until 2:00 pm (the last part of class is studio time, supervised by the monitor)
Enrollment limited to 15 students
This weekend workshop will provide a basic introduction to the materials and methods of working in gouache, or opaque watercolor. Used by many of the great 19th century artists for intimate works and studies, gouache provides all of the advantages of full-spectrum watercolor, with the added ability to refine and make adjustments that are difficult or impossible with traditional watercolor. Gouache’s distinctive flat, bright tones provide a wonderful change from the shiny, heaviness of oils. The workshop will review the necessary materials and various methods for beginning and developing a gouache painting. A materials list will be provided upon registration.
Ephraim Rubenstein received his B.A. in Art History from Columbia University and his M.F.A. in Painting from Columbia University's School of the Arts. Mr. Rubenstein has had ten one-person exhibitions in New York: at Tibor de Nagy Gallery, Tatistcheff & Co., and most recently at George Billis Gallery in Chelsea. He has also exhibited at the Butler Institute of American Art, the Virginia Museum of Fine Arts, and the National Academy of Design, where he won the Emil Carlsen and Beatrice Laufman Awards. His work is represented in numerous public and private collections, including The Metropolitan Museum of Art. Mr. Rubenstein is an active teacher and is currently on the faculty at Columbia University and the National Academy of Design, as well as at the Art Students League. For more information, visit www.ephraimrubenstein.com.
Wendy Shalen
The Figure in the Landscape
In Line, Tone, & Color
Drawing & Painting in Central Park
May 14-18
Monday-Friday, 1:15–4:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
In this drawing and painting workshop in Central Park, students will work from the model in the landscape or from the landscape alone. We will meet in Studio 6 initially to view linear and tonal techniques in ink (reed pen, fine line wash markers), watercolor and soft pastel. Students will then choose their preferred medium (some prior experience preferred for watercolor or pastel), and we will work on location weather permitting.*
Each day will begin with a series of quick ink, watercolor or pastel thumbnails varying composition, edges and color value, followed by longer studies. Reference to master painters will supplement studio work. If desired, there will be thorough technical explanations and critiques on an individual basis. Development of personal work in a series will be encouraged.
*During inclement weather we will work from the model or landscape sketches in Studio 6.
Wendy Shalen is a highly acclaimed artist, whose work has been featured at numerous galleries, museums and private collections, including Abbot & Holder, London; Allan Stone Gallery, New York; The Katonah Museum of Art, New York; and The Housatonic Museum of Art, Connecticut. A graduate of Brandeis University (magna cum laude), Wendy Shalen studied at the Art Students League with Daniel Greene, Harvey Dinnerstein and Robert Beverly Hale, and privately with Burton Silverman. Additional information and images can be found at www.wendyshalen.com.
Brandon Soloff
Everything You Need to Know About Oil Painting Materials:
Paints, Mediums, Surfaces, Grounds and More
May 14-18
Monday–Friday, 6:00-9:30 pm
Fee: $450 (includes $50 materials fee
)
Instructor present each day
Enrollment limited to 14 students
In this hands-on workshop, Brandon Soloff teaches how to create and use various art materials.
Students learn step-by-step how to: stretch canvas (both raw and prepared); prepare panels; create and use traditional glues and gessoes; use different mediums; and employ traditional methods of oil painting, and other techniques.
Making your own materials not only often results in higher quality materials, but is also usually less expensive than purchasing store bought materials. Understanding and controlling the quality of your materials allows for greater control, flexibility and freedom in personalized practice, as materials are adapted to individual needs. All levels from beginner to advanced are welcome.
Brandon Soloff is a classically trained painter and portraitist, whose work has been commissioned throughout the United States and Europe. He has exhibited his work at the Hirschl & Adler Gallery, Alan Stone Gallery, Hammer Galleries, the Royal Society Portrait Painters (London), Meredith Long & Company, the Copley Society of Art (Boston), Galerie Alexander Butman (Paris) and others. Institutions where his portrait work is found, or affiliated with, include Tuck School of Business at Dartmouth College, Morgan Stanley, Westmont College, and KKR (Kohlberg, Kravitz, Roberts & Co.). He has also taught at the League, Studio 126, Mims Studios, Charles H. Cecil Studios, Martine Vaugel Sculpture Studio, the Washington Art Association, Atelier Brunelli, Studio415ny, and the National Academy of Design. To learn more about Brandon Soloff, visit www.brandonsoloff.com.
Deborah Winiarski
Contemporary Uses of Wax and Encaustic
May 19-20
Saturday-Sunday, 10:00 am – 4:30 pm
Fee: $290 (includes $15 materials fee)
Instructor present each day
Enrollment limited to 12 students
In this hands-on workshop, students will explore the luminous beauty and versatility of encaustic art— painting with molten, pigmented beeswax. This ancient art form has evolved into one of the most versatile mediums available to contemporary artists and offers many exciting, creative possibilities!
The workshop will focus on encaustic painting basics, as well as how to easily and inexpensively incorporate encaustic into a regular studio practice. Equipment and tools, encaustic paint recipes, painting supports and more will be discussed. Students will learn how to create image, texture and line using a variety of techniques and how to embed collage elements, found objects and image transfers within translucent layers of wax. No matter your current medium or genre, encaustic has much to offer. Beginners welcome as are prior workshop registrants. Ample time for hands-on work will be provided.
Deborah Winiarski has been teaching encaustic workshops at The Art Students League of New York since 2009. Her encaustic work has been exhibited at venues across the United States including Denise Bibro Fine Art and Kouros Gallery, both in New York City, and, most recently, at Heather James Fine Art, Palm Desert, CA, and Jackson, WY. Her most recent solo exhibition took place at the Narthex Gallery at Saint Peter’s Church, New York City, in 2009.
For more information about the instructor, please visit: www.deborahwiniarski.com.
Mary Beth McKenzie
Monotypes
May 21-25
Monday–Friday, 9:00 am–12:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
A monotype is a painting or drawing that has been printed on paper. Because monotypes must be done quickly, the application of paint is bold and loose and can be very expressive.
The process of making a monotype is relatively simple:
The first method is similar to painting on canvas (light-field). Paint or ink is applied directly to a clean non-porous surface such as Plexiglas, plastic or glass. When paper is pressed to this surface, provided the paint or ink is still wet, the image transfers to the paper. When the paper is removed, the image will be reversed. In the second method (dark-field), a fairly thick layer of ink or paint is spread or rolled evenly over a nonabsorbent surface, such as Plexiglas, plastic or glass, and the image is wiped away or extracted from this dark tone.
The workshop focuses on these and other methods of doing monotypes with demonstrations and live models. Only a spoon is needed for printing.
Mary Beth McKenzie has nineteen monotypes in the Collection of Prints and Drawings at The Metropolitan Museum of Art. Her monotypes are also included in the permanent collections of the Brooklyn Museum, the National American Museum, the Smithsonian Institution, and the New-York Historical Society. In 2010, she had a monotype, sketch and plate on view for three months at The Metropolitan Museum of Art in the Johnson Gallery for Prints and Drawings. In 2001, her oil painting, Self Portrait, (Matisse Print), was on view for seven months in a self-portrait exhibition, Looking at You, at The Metropolitan Museum of Art. She is a painting instructor at the Art Students League of New York and at the National Academy, where she was elected a member in 1994. For more information, please visit www.marybethmckenzie.com.
Daniel Hauben
Plein Air Pastel Workshop
May 21-25
Monday-Friday, 1:30-5:00 pm
Fee: $400
Instructor present each day
Enrollment limited to 12 students
Pastel is an extraordinarily versatile, forgiving, and immediate medium, which combines all the virtues of drawing and painting. Starting with the still life, and then working outdoors on locations in the city, students will explore the selection of a good subject, the creation of a compositional outline, blocking out of the pattern of darks and lights, building up layers of pastel, and the utilization of accents and highlights to refine details. Mr. Hauben uses demonstrations and individualized instruction to help each student find their own connection with the medium. This class is for all levels.
Daniel Hauben has had over thirty solo exhibitions. His public commissions include the current twenty-two painting commission for a new library on the campus of Bronx Community College. Mr. Hauben has been awarded artist residencies in Costa Rica, Spain, Germany, California, Virginia and Connecticut. His work is in corporate and public collections including the White House, Library of Congress, Museum of the City of NY, New-York Historical Society and Harvard University. Mr. Hauben studied at the School of the Museum of Fine Arts (Boston) and earned his BFA from the School of Visual Arts (New York). He teaches drawing at C.C.N.Y.'s School of Architecture.
Workshop Refund Policy
In the event a student chooses to withdraw after registering for a workshop, a 75% tuition refund will be granted when a student submits a “Request for Refund Form” by fax: (212) 541-7024, email: info@artstudentsleague.org or in person at least five (5) business days before the start date of the workshop. No refunds will be given within four (4) business days of a workshop. Refunds are by check or ASL credit, only. Materials fees are not refundable.
Workshop Cancellation Policy
Workshops are subject to cancellation. In the event of cancellation by the Art Students League, registered workshop students will receive a 100% tuition refund. Workshops may be cancelled on short notice. No refunds are given for travel expenses due to cancellations or schedule changes.
Admission to our workshop is on a first come, first serve basis. Admission will not be in excess of our studio capacity and therefore a waiting list will be generated. Tickets can not be reserved and are not guaranteed and are subject to change.