Dates: June 17th- 21st(friday-tuesday), 2016
Hours: 5 days 11:00am - 6:00pm with an hour lunch break in the middle of the day.
Price: $900 all supplies included.
location - 3022 E Burnside St, Portland, OR 97214
contact studio ph 503 235 8549
10 students. First come, first served.I have decided on doing a smaller class size than ususal to make sure everyone gets more individuial attention and has the space they need.
To sign up pay the depoit or full payment and email me at email@example.com. Payment can be made via check, paypal or moneyorder. This 100$ reservation
deposit is NOT REFUNDABLE. The remaining $800.00 must be paid in full 2
months before class (April 17th,2016) unless other arrangements are made.
You can use this paypal button to pay your deposit, final payment or make the payment and full.
Deposits and Cancelations
In the case of cancelations there will be NO REFUNDS made less then 2 month before class.. the 100$ hold deposit is NON-REFUNDABLE. If you can find a person to fill your spot, we can move them into your spot and you can get a refund of your deposit from your replacement student.
email me at that time to work out the details.
- The studio work area is aprox 1300 sqft, so plenty of space and individual
attention. It doesn't get much better than this as we will be in my
actual studio with all my supplies, artwork and things pretty much
exactly as I like them.
-Friday, June 17th at 7pm, after class, we will have a pizza dinner as well as a selection of local beers, and spirts at my home a 10min drive from the studio. You may bring your partner or a friend to join us. This will give us all a chance to meet and get loose
-There is a whole foods one block down the road from my studio and an abudence of restuarnts, food carts, and local fare walking distance from the studio. There is a fridge at the studio to store food as well.
Everything needed for the workshop will be supplied by me. :)
The following is an overview of my concepts and techniques on painting
Things to think about and remember..
This entire process is based on working in reverse, and out of time with
our thoughts. This method forces us to learn to see. Meaning we see what
is, rather than the idea of it. It's easy to get caught up with the ideas in
ones head. We aim to learn that a plan is just a starting point at best, and
it's always ok to change our direction. A rigid plan can confuse us with
let downs and expectations. Just because things aren't going as planned
doesn't mean they are going poorly. I've found in my past that sometimes
even when things are working out better, it's easy to still be confused and
frustrated based on the idea that things are not going as planned. Best
to not look at the plan, but rather what's happening so we don't miss
This class is not about painting a specific thing or outcome. It's more
about how we create that is important. the techniques can be applied to any
style of creation as well as living life.. by watching what happens we can
see what is happening above expectations and thus make clearer decisions
about the future.. changing direction rather than following a preconcieved
idea we came up with before any of the steps had taken place..
I like changing my mind. Especially when I don't like my first choice.. if
somethings not working out it can often be far more productive to drop it
and start over then forcing broken pieces together..
Once we realize this, our ability to learn becomes less painful and
limitless. When mistakes are just encounters to be corrected, learned
from, or left as the perfect accident, we learn not to fight or fear our
actions. I like to use approaches that shouldn't work. This takes away our
desire to expect immediate results. We expect less and get more. This
brings us back to learning to see rather than expecting to see. This is
crutial to opening us to new experiences, and in turn rewards us with
unexpected results in the process. This will in time break down our ideas
and fears of the unknown, allowing us to encounter new things with greater
ease and less fear..
The truer we become with our desires the more we attain them.. finding
what you want in yourself can be the hardest part. After this it's
basically not giving up and pushing forward.. if we move in this manner we
eventually get where we want to go. Frustration distracts us and pushes us
back. Fun and excitement move us forward.. this is why I look for
techniques and approaches that are stress free, physically and mentally
fun.. constantly learning to try something new, look, see, wait, and then
decide with a fresh eye what you really see.. it's amazing what a fresh
look can show you.
Within this process it is the questions you ask yourself that are most
meaningful. Let these guide your creativity and help you find what you're
looking for. Learning to know your steps when you see them. Changing your
mind and direction when needed.. make choices patiently, deciding what
exactly is not working and what is, then move forward by eliminating what
doesn't work with a new choice.. continue in the this manner and your work
will inevitably move forward and work itself out organically and
naturally. Overtime you will develope a style and techniques that are
meaningful and very much your own.
By searching out meaningful directions and imagery you will maintain
excitement and reward in your creations. It is meaning that creates the
feeling of accomplishment.. we accomplish things that mean little to us
every day and we don't recognize or care to remember them. It is the
interaction with meaningful outcomes we remember. when we include this
level of meaning and importance in our work, it becomes very powerful. We
gain confidence in our work, as well as ourselves and even learn to see
ourselves more clearly.
Learning by mistake is easier.
Using the wrong brush, hand utensil, etc is always a good idea. It insures
low expectation - the reward of getting more than expected is very
motivating. This will also force us to learn to look clearly and stop us
from expecting to see something else. It's easy to overlook things when we
have expectations. Using akward utensils developes technique by default.
Color inconcistency using small brushes for large areas creates diversity
of color without even trying an organic active field is created
effortlessly while blocking out we create depth and variation. In the
opposite direction using a large brush for a small area forces us to be
very focused. In time it breaks us from thinking everything needs to be so
exact. It forces our details to come out loose no
matter how tight we make them. After reviewing enough work created in
this way it will be easy to see and understand that it's not so important or
productive to be tense and exact when seeking to achieve something that is
loose, fluid. More emotional than precise. Once you get over not doing
what you expect you will see very free renderings of your intentions..
Mixing color. mixing color.. mixing color. You don't end up with variation
of color without mixing. The quickest way to engage in this is on surface
mixing. Dipping between two or three colors, mixing each time you go to get
more paint, is a good idea. the colors will be similar, yet vary, keeping
things from looking flat or drab. It's not neccasarily a lot of extremely
different colors that make things brilliant, it's a few with a lot of
subtlty. To create distinct seperation, use of opposites is always good..
For me it all breaks into hot against cold. red, yellow, orange, pink,
against blue, or green.
Let me know if you have any questions, or want to sign up. Thanks for your support!
Link to video of me painting so you know what you're getting yourself into.. :)
Video 1 Video 2