DATE: May 16 – 18, 2020- POSTPONED – NEW DATE: DECEMBER 11 – 13, 2020
TIME: 10:00am to 5:00pm
FEE: $545 (includes model fee and daily catered lunch by Sucre&Sel) MODEL FEE: included in workshop fee
LOCATION: 1401 S. Bloodworth St. Raleigh, NC 27610
SUPPLIES LIST: Keep reading. You’ll find it below, after Cancellation policy
LEVEL: Figurative painting experience required | STUDENTS: max. 13, minimum 10
In this three day workshop, Philadelphia based artist Arcenio Martin Campos will challenge the artist to push artistic boundaries with how one sees the human figure.
Working directly from observation or photo reference of the model and at a quick pace, students will understand how to use memory and speed to the best advantage in their work. Single figure studies and figure space compositions will be explored —— depending on the individual goals of each student.
The core of Campos’ work revolves around the figure — directly observed —- and as a point of departure for narratives. With years of solid training in observation and constant drawing, Martin has created a fluid and symbiotic relationship with the model as muse. He hopes that with this workshop, he can impart this knowledge to you……
What will the student learn?
- A rounded sense of the existence of a form made while on a substrate. The mystery of how to solve proportional problems will be clear.
- A strong sense of the gesture which Martin considers the “lifeblood”and the “engine” behind the single figure entity. In the gestural mode, particular attention will be presented on the skeletal system and the strong role it plays in keying in on and creating the abbreviated gesture.
- How one can do a strong rooted figure in 10 or less marks is always the challenge. Opening up and “emptying out your form” will be the task — and how to use the power of minimalism to spark memory in future work from a particular model.
- The importance of relating to your model as a human being with feelings and a life and not as an “object” to draw or paint. The very importance of empathy and the felt presence of the model….to add strength in ones work.
- How the form relates to surface tension and space. Certain aspects of the pose which puncture space and cause tension with its surroundings will be explored.
- Dealing with narratives that are hard to believe and how to make them believable within oneself and accepting a story.
Things to take away and what to prepare for before the workshop begins:
- You will not have a fantastic piece at the end. Workshops are for absorbing information and creating expendable pieces at the behest of learning.
- Martin works at a kinetic pace and lots of information will be relayed. Take notes and consider work examples for later study.
- The more you let go the more you become an open vessel during the workshop, the more one absorbs.
- Pace yourself and try to tap into destruction and failure to find your faults. In this workshop, it will be all about zeroing in on your weaknesses and becoming stronger.
- Work on lots of studies and be malleable. Let’s have a fun experience finding out who you really are.
Arcenio Martin Campos attended New Mexico State University for studio arts, the University of New Mexico for art history, and received a Certificate of Painting from the Pennsylvania Academy of Fine Arts. He began drawing on his own as a child, and between schools acquired much of his fine art education from independent study and private instruction of the human figure. Mr. Campos began his teaching career conducting classes in cast drawing whilst still in New Mexico. He has given lectures on anatomy, figure drawing, and painting and has facilitated open figure drawing groups in both Albuquerque and Philadelphia. His work has received numerous awards and has been exhibited throughout the United States and abroad.
Mr. Campos currently teaches at the Pennsylvania Academy of Fine Arts, Fleisher Art Memorial, the Washington Studio School, and the Wayne Art Center.
CANCELLATION POLICY (NEW!)
If a month before the workshop we haven’t reached the minimum amount of students for the workshop to happen the workshop will be canceled and students will receive a full refund.
If you cancel less than 60 DAYS prior to the start of a workshop you will receive half of your registration fee, If you cancel less than 30 DAYS prior the start of the workshop you will not receive a refund. If you must cancel in this time frame we encourage you to find a replacement, and your replacement can reimburse you for your course fee. If you cancel before the 60-day limit you will receive a full refund minus 3% processing fee. Unfortunately, students who start a multiple-day class and are unable to attend any portion will not receive a refund.
INCLEMENT WEATHER POLICY (NEW!)
Workshop will be canceled or rescheduled if inclement weather (hurricanes, snow storm, tropical storm, black ice, flooding, etc.) is on the forecast. No one should take any unnecessary risks. If the workshop is canceled, all registration money will be returned to the students minus 3% processing fee. The workshop will be rescheduled if possible for both parties.
1. Sturdy drawing board with clips.
2. Soft vine charcoal, compressed charcoal, medium soft pastel in a limited color range of flesh tones.
3. Kneaded gum erasers.
4. Very good quality rag content paper. I use hahnemuhle Ingres charcoal paper. Fabriano, Rives BFK and Arches oil paper are other examples
5. Blending stumps and chamois cloth..
6. A sturdy portfolio to keep all your drawings.
MY FAVORITE DRAWING MATERIALS
Blick extra soft vine charcoal.
Cretacolor dry red chalk and black chalks.
Nupastel square pastels.
Faber Castel or Generals kneaded gum erasers.
MY FAVORITE DRAWING PAPERS
Hahnemuhle Ingres charcoal paper
Hahnemuhle rag paper
Artistico Fabriano rag paper
Fabriano Roma paper
Nidiggen printmaking paper
Arches oil paper
1. Plenty of supports. At least 10 on hand….all no bigger than 12×12 inches.
2. Canvas, wood birch panels, arches oil paper, or any paper treated to recieve oil, taped down to a board.
3. A limited oil palette of your choice.
4. Large brushes, a few soft 2 inch flat variety and a few large number 8 or filbert brushes. NO TINY LINER BRUSHES!
5. Odorless mineral spirits.
6. Paper Towels.
7. Large disposable palette, the kind with tear off sheets.8. Plastic gloves.
10. A small sketchbook for thumbnails.
11. Painters tape.
12. Rubber color shapers.
13. Palette knives.
MY PREFERRED PAINTS.
Cadmium Yellow Lemon
Cadmium red light
Quinacridone red. — also. Brown Pink or Perylene red.
Old Holland Brand:
MY PREFERRED SUPPORTS
Birch plywood panels gessoed with three coats of Golden acrylic gesso.
Arches oil paper
Any good printmaking paper treated with polyvinyl acetate (PVA) pinned to a board.
Belgian linen canvass.
MY PREFERRED BRUSHES
Da Vinci small gesso 2 or 3 inch flats
Robert Simmons hog hair number 8 flat and filberts.
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