Jenny Doh

Focus on Florals :: Studio Crescendoh :: Jan 26-27, 2019

Focus on Florals
2-dayWorkshop :: January 26-27, 2019
with Jenny Doh

LOCATION
207 N. Broadway Street, Suite L
Santa Ana, CA 92701
[email protected]

Join me for a 2-day workshop where we will learn to how to paint a floral painting using photo references. Please feel free to bring photo references of flowers that you may want to potentially paint. If you don't have photos, no worries, I will bring plenty of references that you can use. We will start with prepping the canvas and the photo. We will spend time observing the reference to discuss how the direction of each blossom can be actualized as we observe shapes and values and visualize our paintings.

We will then move to making a very light drawing of the reference, then paint the values, and then paint the colors. Throughout the process, we will adopt the THREE Ds of painting where we 1) Deliberate, 2) Decide, and 3) Deliver. I will also help you add finishing touches on the final day.

MATERIALS LIST: Each participant is asked to bring the following to the workshop:

• Photo reference(s) of flowers on your smart phone and/or your tablet
• Two stretched canvases (I will do one demo on an 18x24-inch canvas and a second demo on a 24-inch square canvas.)
• Water-soluble pencil (like a stabilo or a derwent inktense in black)
• PAINTS: Please bring Golden Fluid Acrylics in the following colors: Titanium White, Raw Umber, Titan Buff, Diarylide Yellow, Ultramarine Blue, Pyrrole Red Light
• PAINTS: Please also bring these optional colors: Teal, Green Gold, Prussian Blue, Naples Yellow Pthalo Green, Flourescent Pink (Golden heavy body) and any other colors you feel good about. I really recommend that you bring Golden Fluid acrylics. 
• PAINTS: Please also bring these optional colors by Holbein Heavy Body: Jaune Brillant, Aqua Blue, Anthraquinone Red
• PAINTBRUSHES: 1-inch and 1/2-inch short flat brushes (also known as Brights) with long handles. White nylon (or other synthetic bristles) is what I recommend
• Baby wipes
• Palette and/or palette paper (Lately I use palette paper on top of a palette (which can be wood, plastic, glass or anything that is firm) and then when the paper is all used up, I change out the paper
• Paper towels
• Scratch paper or scratch journal to take notes
   

 SCHEDULE for both days:

• Arrive & Settle: 9:00 :: Time for students to arrive, settle in.
• Class Segment A: 9:30-12:00 :: Class time with Jenny who will demonstrate and guide the 1st part of class.
• Lunch & Stroll: 12:00 PM :: You can choose to brown bag it or take a stroll to one of the many hip and artsy eateries in the historic Artist's Village in Santa Ana, like Chapter One, and The Gypsy Den.
• Class Segment B: 1:30-4:30 PM :: Class time with Jenny who will guide the 2nd part of class.
• Clean-Up & Depart: 4:30-5:00 PM

 

NOTES:

• Due to limited class size, the spot for this class is transferable but payment is non-refundable. Please read about this policy in our Studio Policies.

STUDIO POLICIES:
Please read class policies for Studio CRESCENDOh here. By purchasing this class, you are agreeing to abide by the class policies.

January 26-27, 2019
PRICE :: 285

 

Nick Runge :: Studio Crescendoh :: March 30-31, 2019

Watercolor & Gouache Portraits
2-dayWorkshop :: March 30-31, 2019
with Still Life

LOCATION
207 N. Broadway Street, Suite L
Santa Ana, CA 92701
[email protected]

Nick Runge Art

Join artist Nick Runge for a 2-day workshop where we will learn to paint first with watercolor, and then with watercolor and gouache. We will use photo references as Nick first demonstrates his approach and method while explaining the choices he makes, the intuition that he works with, and chances taken while painting a portrait. As students work on their own paintings, Nick will offer guidance, discussion and instruction for each individual student as they paint.  

MATERIALS LIST: Each participant is asked to bring the following to the workshop:

• Photo reference(s)
• Watercolor sketchbook and/or small loose sheets of watercolor paper
• Drawing pencil(s) of any kind
• Mixing palette
• Large container for water
• Paper towels
• WATERCOLOR PAINTS: Any artist-grade watercolor paints that you are comfortable with ... can be sets, pans, or tubes
• GOUACHE: Any artist-grade gouache paints that you are comfortable with
• PAINTBRUSHES: I usually start with a small round brush and work up to big ones. So bring brushes that you already are comfortable with, along with a small medium round brush (#4-6 round) and a larger (#12-16 round or flat)
   
   

 

SCHEDULE:

• Arrive & Settle: 9:00 :: Time for students to arrive, settle in.
• Class Segment A: 9:30-12:00 :: Class time with NICK who will demonstrate and guide the 1st part of class.
• Lunch & Stroll: 12:00 PM :: You can choose to brown bag it or take a stroll to one of the many hip and artsy eateries in the historic Artist's Village in Santa Ana, like Chapter One, and The Gypsy Den.
• Class Segment B: 1:30-4:30 PM :: Class time with NICK who will guide the 2nd part of class.
• Clean-Up & Depart: 4:30-5:00 PM

 

NOTES:

• Due to limited class size, the spot for this class is transferable but payment is non-refundable. Please read about this policy in our Studio Policies.

STUDIO POLICIES:
Please read class policies for Studio CRESCENDOh here. By purchasing this class, you are agreeing to abide by the class policies.

MARCH 30-31, 2019
PRICE :: 285

 

Zoey Frank :: Studio Crescendoh :: FEB 8-10 2019

Composition Through Still Life
3-dayWorkshop :: February 8-10, 2019
with Still Life

LOCATION
207 N. Broadway Street, Suite L
Santa Ana, CA 92701
[email protected]

 

Zoey Frank

Join artist Zoey Frank for a 3-day workshop where we will learn to compose still life painting where we will consider the geometry of the arrangement, viewpoint and balance to build a painting that is structurally considered as a whole unit. We will do compositional sketches and also make changes to the setup as we go to find the movement through the piece. Focus will be places on satisfying and accurate drawing, value and color relationships. The workshop will be taught through lecture, demonstration and critique. 

 

Materials List: Each participant is asked to bring the following to the workshop:

• Palette: I use a hand-held wood palette, glass backed with mid-tone grey paper works well too
• Palette knife
• Paper towels
• Medium cups
• Jar for turps (two old condiment jars work well)
• Turpenoid or gamsol (odorless)*
• Linseed oil, or medium of your choice-I've been liking Winsor and Newton painting medium
• Artist tape
• Viewfinder
• Paint box or tackle box to hold everything
• BRUSHES: Bring a wider variety if you have them, but I would recommend at least the following:
  • Filbert bristle (sizes approximately no. 1, 4, 6, 10)
  • Filbert or flat, sable or synthetic mongoose (2, 4, 6, 8)
• PAINTING SURFACES: One painting surface around 16x20 inches. Create a beautiful surface to work on ... like a panel or a smooth canvas. Prep your surface before you arrive with gesso, sanding between coats. Even if it's pre-primed add at least an extra coat of gesso. Also bring small surfaces for compositional studies (around 4 pieces that are 8x10 inches). Small pieces of un-stretched canvas, primed paper, or something similar, tone these a very light shade of grey.
• PAINT: My current still life palette looks something like this list below. Bring a wider variety of paints if you have them, any artist grade brand is acceptable:
  • Titanium White, Lemon Yellow, Cad Yellow, Cad Orange, Cad Red, Alizarine Crimson, Raw Umber, Ivory Black, Ultramarine Blue, Phthalo Blue, Cad Green
• STILL-LIFE OBJECTS: We will each be setting up our own still life to paint from. Bring in a box, objects to work with as you consider the formal qualities of the objects: their shape, color, pattern, and the variety in size from one to another. You might want to bring something to put underneath or behind the objects as well: an old board, tiles, patterned cloth, colored paper or any other interesting surface. We will be painting around life-sized so think about the objects you are bringing in relationship to your canvas size. Objects could be centered around a theme: maybe objects from the kitchen, from your desk, or all the items you would use to transplant a houseplant. They can be meaningful, or visually interesting, or incredibly mundane!

 

 *For those flying into the studio (or for anyone who would prefer to not travel with turp and oil), the studio will have Gamsol and Linseed Oil available for you to use so no need to worry about that.

 

SCHEDULE:

• Arrive & Settle: 9:00 :: Time for students to arrive, settle in.
• Class Segment A: 9:30-12:00 :: Class time with Zoey who will demonstrate and guide the 1st part of class.
• Lunch & Stroll: 12:00 PM :: You can choose to brown bag it or take a stroll to one of the many hip and artsy eateries in the historic Artist's Village in Santa Ana, like Chapter One, and The Gypsy Den.
• Class Segment B: 1:30-4:30 PM :: Class time with Zoey who will guide the 2nd part of class.
• Clean-Up & Depart: 4:30-5:00 PM

 

NOTES:

• Due to limited class size, the spot for this class is transferable but payment is non-refundable. Please read about this policy in our Studio Policies.

STUDIO POLICIES:
Please read class policies for Studio CRESCENDOh here. By purchasing this class, you are agreeing to abide by the class policies.

February 8-10, 2019
PRICE :: 425

 

644 NYC

644 NYC
6x8 inches : Oil on gessobord
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I referenced an image by @sarahjessicaparker for this work.

643 Before I Sleep

643 Before I Sleep
6x6 inches :: oil on gessobord
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I referenced a photo by @vivid_001 for this work.

"The woods are lovely, dark and deep. But I have promises to keep and miles to go before I sleep." Robert Frost

642 Power Patience Patience

642 Power Patience Patience
8x6 inches :: oil on gessobord
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I had a beautiful experience yesterday rowing a boat in water. I referenced a photo of our team of rowers for this work. I really like one of the principles/rhythmic words of rowing, which is: one part power, two parts patience. So much application to art and life.

641 Opened and Placed

641 Opened and Placed
6x6 inches :: oil on gessobord
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I love to read books. Today I decided to paint a little old red one with yellowing pages, which I opened and placed next to a vase made by my friend Misty, and a crunchy rose that I dried ages ago.

 

640 Viola On My Mind

640 Viola On My Mind
24x18 inches :: original acrylic on stretched canvas
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I referenced my viola for this work. I've been practicing diligently ... waking up early to play my scales, simple melodies, and trying my darnedest to keep my impatience at bay. My teacher says impatience is the number one killer of progress ... words that I know and preach in terms of painting ... but still ... it's ain't easy. Patience, that is.

A little note to those coming to Denver later this month to paint with me. If there's something fabulous you want to reference (like your viola or something else) please feel free to bring it with you or a great photo of that item with you. See you soon! Can't wait to paint with you!

 

639 To the River

639 To the River
16x20 inches :: acrylic on stretched canvas
Click here to buy
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#AlisonKrauss
DOWN TO THE RIVER TO PRAY

As I went down in the river to pray

Studying about that good old way

And who shall wear the starry crown

Good Lord, show me the way!

 

O sinners, let's go down

Let's go down, come on down

O sinners, let's go down

Down in the river to pray

 

 

Educated by Tara Westover

I just finished reading Educated by Tara Westover. I first learned of this book by listening to Tara being interviewed by Jason Gots on the SUPERB Think Again podcast. It is a memoir of a woman who grew up in a family living WAY outside of society's mainstream, in the mountains of Idaho. That she would find her way out of the mountains and onto elite universities to not only gain an education but to write words that would educate the world is told with jaw-dropping accounts that I won't forget.

It's temping to classify uneducated mountain folks as bad, and educated university folks as good. And vice versa. It's tempting to speak with certainty about such things ... with zero tolerance for this, that and the other.

What this book presents is that doubt and uncertainty have a way of generating its own unique strength. And that what might seem like pure strength when in the presence of aggressive dogma and certainty and abuse ... is frequently not strength at all.

When I used to work as a social worker within child protective services, it never ceased to amaze me that kids ... no matter how severely mistreated, can never completely reject their families. The ones who tried to convince themselves that their families and histories didn't matter were the ones who suffered most of all.

I am inspired to look at Tara's education as a call for my continued education ... to never stop inquiring, to constantly learn, to welcome doubt, and find ways to become better educated in order to better understand me, my family, my world.