Revealing the Soul, Sensitive Portraits and Figures by William Schneider


What makes the work of masters like Nicolai Fechin, John Singer Sargent, and Anders Zorn so powerful? In most cases it’s not what they put in, but rather what they chose to leave out. In the words of C.W.Mundy, “Don’t insult the viewer by spelling out every detail.”

SADLY CANCELLED due to the COVID-19 outbreak.

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DATE: May 30 – June 02, 2020 – 4-day workshop – CANCELLED due to the COVID-19 outbreak.
TIME: 10:00am to 4:00pm
FEE: $615 (fee includes daily catered lunch by Sucre&Sel) | MODEL FEE: $40
LOCATION: 1401 S. Bloodworth St. Raleigh, NC 27610
SUPPLIES LIST:  Keep reading, you’ll find it below Cancellation Policy
MEDIUM: Pastels or Oils (or both)
LEVEL: All levels | STUDENTS: max. 13, minimum 10


What makes the work of masters like Nicolai Fechin, John Singer Sargent, and Anders Zorn so powerful? In most cases it’s not what they put in, but rather what they chose to leave out. In the words of C.W.Mundy, “Don’t insult the viewer by spelling out every detail.”

This four-day oil and pastel workshop is for artists who are intermediate or higher. You will learn:
• Power through suggestion
• One simple technique to create sparkling color
• How to avoid “unpleasant detail”
• Masterful edge control
• How to simplify color harmony
• The key to turning the form with temperature
• A technique to create Fechin’s broken edge effects

William will demonstrate in both oil and pastel (a complete head study as well as several “mini-demos” – painting eyes, painting the mouth etc. On one of the days you will copy (with instruction) a painting by one of the masters mentioned above. This workshop will turbo-charge your understanding of drawing, value, color temperature, edge control and above all else – how to loosen up!


William A. Schneider, AISM, OPAM, PSA-MP, works in oil and pastel.
His skills were honed during eight years at the American Academy of Art’s Saturday Program in Chicago where he studied figure drawing and pastel with Bill Parks and oil painting with Ted Smuskiewicz.  He continued his education through workshops with masters like Carolyn Anderson, Dan Gerhartz, and Richard Schmid. He learned his advanced pastel techniques in studies with Harley Brown.

William’s paintings have been featured in numerous magazine articles and several books. His work has received awards in exhibitions including those of: Academic Artists, American Impressionist Society, Oil Painters of America, Portrait Society of America, and Salon International. He is a Master Signature member of OPA. The Pastel Society of America elected William to the title “Master Pastelist” and The American Impressionist Society has designated him as a “Master”. The International Association of Pastel Societies has named him to the “Master’s Circle”.


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.


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.


Painting Miles will provide a standing studio easel and a side table for your palettea.

Sketch Pad 9×12 or 11×14 (spiral bound is best).

ClampsGet STRONG ones (ladies, get them so strong you almost can’t squeeze them!) The flat metal clamps or little plastic ones sold by art supply stores don’t do the trick! (You can get good cheap clamps at Home Depot, Lowes etc.).

In addition, I suggest the following supplies; most can be ordered on line at,,, or

You can work in either medium, Pastels or Oils (or both):


1. Soft Pastels – (NOT oil pastels) The new Jack Richeson – William Schneider 80 Stick Portrait & Figure Set is preferred. (You can order this at Judson’s

Unison, Rembrandt, Sennelier, Terry Ludwig, and Great American pastels are also good. Terry Ludwig’s “Intense Darks II” are the best dark set made!

2. Pastel paper –Sanded supports are the best. I like Pastel Premier sanded papers 320 or 400 Grit or U-art 280 – 400 grit, and Ampersand Pastelboard.


  1. Canvas or linen –(I prefer Claessens # 15 Double Oil Primed linen either stretched or stapled to a board

  2. Oil Paints – As long as you have a warm and cool version of each primary plus white you don’t need to buy particular colors. [If you want to, I use: Reds: Rembrandt Permanent Red Medium, Rembrandt Permanent Madder Deep; Yellows: Yellow Ochre (or Raw Sienna), Holbein Permanent Yellow Deep and Permanent Yellow Light (as substitutes for the cadmiums); Blues: Ultramarine Blue and Ivory Black; Miscellaneous: Rembrandt Transparent Oxide Brown, Manganese Violet, Cremnitz White or Titanium White].

  3. Brushes – Bristle Flats sizes 8, and 10 [I prefer Robert Simmons Signet ] — Sable or Mongoose Flats sizes 2,4, 6 [Rosemary & Co series 279].

  4. Painting Knife

  5. Medium: Gamsol. Not turpentine!


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