New Workshops:
The Clothed Figure
In this drawing intensive, the focus will be on developing up to three portfolio pieces featuring the clothed human figure. Working from the same model each day, students will explore the form and structure of the body. Topics covered will include positive and negative ways of viewing form, and classical composition techniques such as the gesture and the arabesque. Please call to register or for more information.
Materials List
Drawing Materials
- Newsprint paper pad 18 x 24
- Strathmore Assorted Tints Charcoal Paper pad, Series 500, 18 by 24
- Drawing paper pad- Strathmore, Series 400, 18 x 24
- Charcoal pencils - Pitt brand preferred. Soft, medium, hard. 3 of each.
- Paper blending stumps, small, medium and large
- Sandpaper block - to sharpen charcoal pencils. Large nail file can be used as substitute.
- Graphite pencils - HB, 2B, F
- Rotary Pencil Sharpener
- Handheld Razor (like box cutter) - Found in hardware store, for sharpening charcoal
- Kneaded eraser
- Masonite board and Bulldog clips
- 14" knitting needle or skewer (used to help see angles)
- Artist's Tape
In this five-day workshop, students will set up individual still-life arrangements. The instructor will discuss sight-sizing technique, composition, thinking out an idea, how to choose the right objects (color / texture), and how to determine the best canvas size and shape, among other points. After the final arrangement is determined students will complete a pencil drawing of the still-life and then transfer it to canvas. For the painting, students will begin with a thin wash and then move to thicker paint over the next few days, until they have completed a finished painting. The instructor will do daily demonstrations for the class to help students achieve a more thorough understanding of the process and techniques involved.
Materials List
Drawing supplies:
2mm mechanical Pencil w/ HB lead
Kneaded eraser
Sharpener
Clear ruler
Measuring stick ( take a metal coat hanger and cut off the longest part of it)
Artists tape
Roll of white drawing paper. 70lb or 90lb will do.
Transfer paper
Small handheld mirror
Composition L's ( 2 pieces of cardboard shaped like like an L , so you can frame out your composition before beginning)
Painting supplies:
These colors are on my standard palette. Some of the colors have the manufacturer listed after them . These are the brands I'd highly recommend for that particular color. But you may use whatever brand you'd like. I would encourage you to avoid any student grade paint such as Winton or Georgian or any color that has the word "hue" on it. Utrecht brand paints are not too expensive and are relatively decent quality so if your on a budget i'd go for those.
Titanium White (gamblin)
Cadmium lemon (winsor and newton)
Cadmium yellow light
Cadmium yellow deep
Yellow ochre pale
Transparent red oxide (Rembrandt)
Cadmium orange
Cadmium red light
cadmium red deep
Alizarin permanent (Gamblin)
Ultramarine blue
Pthalo Blue
Cobalt Blue
Ivory black - Winsor and newton
Viridian
palette - Make sure its already well seasoned or if its new make sure its been sealed with varnish or shellac or some other sealant.
Stand oil or linseed oil
Terpenoid - no terpenoid natural or terpentine please
palette cups - at least 2 or 3
paper towels
Palette knife
Brushes:
Rosemary and co.- (England, web order only) series 278 Mongoose long filberts , series 279 Mongoose long flats , sizes 2-8 . These brushes are crucial for getting the look and paint quality I'm after in my work, so I'd highly recommend them. There is no real adequate substitute for these.
Assorted bristle brushes - Flats and filberts sizes 2 -10 ( Winsor and Newton or Robert Simmons are good, W&N are available at Utrecht and are cheaper, Rosemary and Co makes a good bristle brush also).
Soft synthetic brushes - Princeton makes a good synthetic called Umbria which I use. But there are others that work. Robert Simmons Titanium is an ok brush also.
Sable brushes- I also use various sable brushes, flats and filberts. Dick Blick makes some decent red sable brushes called 'Masterstroke'. I use size 14 as a good all purpose brush but various other sizes are ok.
Small synthetic rounds - for small details, various sizes.
Utrecht Sablette liners, size 1. These are important for small detail work.
Canvas:
I paint on Claessens 13 SP linen. You may bring what canvas/linen you'd like but make sure it is good quality. If you get Acrylic-primed canvas try to get triple-primed. Bring a size in which you can comfortably finish during the 5 days; this will vary depending on the skill and speed of each student. I think 18 x 24 would be the maximum. If you'd like to stretch your own canvas ahead of time you may do so.
In this unique 3-day workshop, students will explore the beauty and subtlety of graphite and white chalk while studying the portrait. Each step will be clearly explained and we will proceed from blocking in the drawing to modeling the forms in light with white chalk. Along the way we will address fundamental concepts of portraiture, such as how to capture a likeness, how to key a drawing, and how to model forms with the awareness of the structure of the portrait.
During the first morning all students will work on brief drawing exercises that strengthen awareness of shape and light. We will begin the long pose the first afternoon and continue with the same pose until the conclusion of the workshop on Wednesday afternoon.
Major concepts will be introduced through lectures, personal critiques, and supplemental readings supplied by the instructor. These concepts will be brought together during the long-pose portrait drawing.
Graphite and white chalk is a wonderful way to begin to think about painting in oil. This workshop is the first class in a three-part series to be offered at LIAFA addressing the issue of how to transition from drawing into painting. Additional courses to be offered in grisaille painting and limited-color painting will build upon the fundamentals presented in this course. This class is open to students of all levels.
About Dennis Cheaney:
Mr. Cheaney received his MFA from the New York Academy of Art (1998), where he was an Andy Warhol Foundation Scholar studying under Edward Schmidt. Dennis continued his studies with Ted Seth Jacobs, Jacob Collins and Michael Grimaldi. Dennis has exhibited in New York City, San Francisco, Boston, Texas, France and Canada. He received the Elizabeth Greenshields Foundation Grant for figure painting. He has taught classes at Academy duCret (NJ.), Bay Area Classical Artists Atelier (CA.), the Copley Society of art (MA.), Janus Collaborative School of Art (NYC), Long Island Academy of Fine Art (NY.), New England Realist Art Center (MA.) and New York Academy of Art (NY.). Since 2008, Dennis has taught a popular continuing education class at the New York Academy of Art.
Supply List for Dennis Cheaney Workshop
Drawing Materials:
For this intensive, we will not need a lot of paper. You will not need any more than 5 sheets of white drawing paper and 2 sheets of toned paper. No need to buy a new drawing pad of white paper, you may work in your current drawing pad. Please find suggestions below.
White Paper: Please bring a 14 x 17 inch or 18 x 24 inch drawing pad with white paper. A drawing pad that has 24 sheets of paper is more than enough. The pad fits best into the drawing board if it has a spiral at the top, not at the sides. Good examples are a white Strathmore drawing pad (Series 300, 400 or 500) or Canson Drawing pad. Please avoid newsprint paper, sketchpads, charcoal paper, Bristol board or the jumbo biggie sketchpads.
Toned Paper: May be purchased as single large sheets (approximately 20 x 27 inches). A good affordable type that is readily available at NY Central, Pearl, Utrecht or Blick art stores is Canson Mi Tientes, Canson Ingres, or Fabriano Tiziano. Please select 2 sheets of a middle value from colors such as grey, blue, green, or tan. Please no light or intense colors.
If you purchase large sheets, you may cut down the paper to fit your drawing board before you arrive to class.
Pencils: Please bring graphite pencils (avoid the woodless pencils as they are hard to keep sharp): two HB pencils, two H pencils, and two 2B pencils.
White Pencils or Sticks: Please bring one white pencil such as Conte Pastel, Faber Castel Pitt, or General’s pastel. Instead of white pencils, one package of white sticks may be purchased from Conte or Koh-i-noor. One package contains 2 or 5 sticks depending on the brand. If purchasing sticks, you will need a chalk holder and sand paper block (from an art store).
Other Drawing Items: A drawing board, a kneaded eraser, a white nylon or plastic eraser (not a Pink Pearl eraser because it leaves pink marks on the paper), a couple of cardboard blending stumps (small or medium size), chalk holder (only for white chalk sticks), razor blade and sandpaper to assist with sharpening white pencils or sticks.
4 - Day Intensive
High School Portfolio Development Workshop
Tuesday, August 30th through
Friday, September 2nd , 11 a.m. - 6 p.m.
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On Tuesday & Wednesday, students work with
Leeanna Chipana on developing key observational drawing and painting pieces, such as a still-life and self-portrait. There is also a brief optional photography lesson and assignment thatmay be used to fulfill portfolio requirements.
- On Thursday & Friday, students work with Suanne Martin on sculpting one
3 -D piece for their portfolios. Projects will vary: some students will work on reproducing simple classical art forms, while others may wish to create pieces from their imagination. Beginner sculptors are welcome.
- Students can expect to complete 3 - 5 portfolio pieces during this workshop. New students should call to schedule a portfolio review before the workshop
$425 plus $25 materials fee.
Please call 646.508.7645 to register.
info@liafa.com /www.liafa.com
Evening Light, High Meadow, by Dave Peikon
Maya, by Steve Forster
