Alla Prima Painting Summer Workshop
This class is about painting alla prima (wet into wet) and the techniques used to create a fresh, direct response to our subjects. On days one and two, we’ll work from still life. On days three and four we’ll move on to the figure. On the first morning there will be a demonstration, then the class will paint. Students will learn to look at large, overall basic shapes and to simplify. Working on a toned ground, we’ll start by sketching and placing the subject on the canvas. Then we block in two simple values: light and dark tone. After that we begin adding mid tones. By learning to simplify form, values and color, we begin to interpret and break down our subjects into more understandable tones and shapes instead of becoming distracted by details. This helps us to paint our subjects with greater clarity and directness. This class will be particularly helpful to students who wish to paint more loosely and to paint their subject with greater economy.
David Shevlino studied at the Pennsylvania Academy of the Fine Arts (certificate ’84) and the University of Pennsylvania (BFA ’92). His work has been featured in national publications and he has exhibited his work and taught workshops throughout the U.S. He has also produced a series of videos and DVDs about his artwork and painting methods.
His exposure to art began as a teenager growing up in NJ near NYC. He began making trips to art museums in NYC when he was 15 and developed a love of traditional figurative painting. As a youth he found himself especially drawn to the old masters. Those early trips to the museum instilled in him a love of craft and a sense of where painting comes from. For most of his artistic career he has tried to take what he has learned about traditional painting and mold it into something he can call his own, which presently means exploring the place between traditional figurative painting and abstraction.
To learn more about David Shevlino, visit https://davidshevlino.com/.
-Brushes: filberts, flats of varying sizes. Avoid soft synthetic brushes and brights. Also, please don’t bring short, stumpy brushes to class. Natural bristle and/or STIFF synthetic are best. #10,12,14 Silver Bristlon or Rosemary Ivory series.
For a natural bristle, any good quality manufacturer will do. (Robert Simmons, Silver brush.)
NOTE: Since there is no uniformity in the size numbers between different brush manufacturers, bring at least 2 brushes which are ¾” and 1” wide
-Medium: refined linseed oil, but not cold pressed (NO STAND OIL)
-Odorless paint thinner for rinsing/cleaning brushes
-Rags or paper towels
- Palette AT LEAST 11 x 14 or bigger
-Neutrally toned gray canvas or panel: Use Dick Blick matte acrylic
“warm gray” for toning
-panel/canvas size range 14 x 18 to 16 x 20 inches. Students need 1-2 canvas/panels for each day of the workshop
-Paint cups or old cans
NOTE: Bring jars or cans for your thinner at least 3” in diameter
-Jar with lid for used paint thinner.
I recommend Gamblin Oil colors if possible, especially for the Olive Green.
Cadmium red light
Cadmium orange or equivalent
Cadmium yellow light