Here’s the line-up:
Paper Marbling Workshops with Lauren Clark
Discover the ancient, magical art of Turkish Marbling in a fun and engaging workshop with veteran paper marbler, Lauren Clark. Guaranteed to make you smile, this delightful one-day workshop will include a brief lecture, demonstrations, and a hands-on experience. These lovely papers can then be used for many things including, but not limited to, stationery, wrapping paper, origami, collage and bookbinding. Students will create enough marbled paper to use for their next creative project!
Tuesday, June 26
Tuesday, July 31
Tuesday, Aug 28
all marbling workshops are from 10am-4pm
Tuition: $145-includes everything but lunch
Class Size: minimum 4, maximum 6
Coffee, tea and dessert is on me!
To register or for more information email or call the gallery
lauren@LaurenClarkFineArt.com
413-528-0432
Plein Air Printmaking for Painters with Carolyn Letvin
Level: Intermediate to Experienced
Medium: Oil paint
This one day workshop will cover the process of taking a basic printmaking process into the field. Using your current oil painting
supplies and some simple tools, you can create beautiful, unique
prints that will freshen your painting process as well as open opportunities to be able show with well known Printmakers organizations. We will be using oil paints for this workshop, but the technique can also be applied to acrylics as well as printmaking inks. The day will include classroom time for demonstration and critique as well as time outside for printmaking plein air. If there is inclement weather, we will work from photos and looking out the windows at the Lauren Clark Fine Art Gallery.
One Day Workshop
Tuition: $165 plus $5 materials fee
Class Size: minimum 4, maximum 6
Tuesday, July 17, 11:00 am – 5:00 pm
To register or for more information email or call the gallery
Lauren@LaurenClarkFineArt.com
413-528-0432
Bits and Pieces Mosaic Workshop with Marlene Marshall
This folk art known as Pique Assiette
(a French term meaning “stolen from plate”) or memoryware.
The basic process draws on the techniques of traditional mosaics: gathered pieces of broken pottery, buttons, figurines, and jewelry cemented onto a porous base to create a new surface.
Almost any shape form can be used such as clay garden pots
or bird baths, if wood (for indoors only).
Students should bring collected china, hammer, rubber gloves and spray bottle. All glues and cement will be supplied by instructor.
Two Day Workshop
Tuition: $185
Tuesday, July 24 & Wednesday, July 25
10am-4pm
to register or for more information email or call the gallery
Lauren@LaurenClarkFineArt.com
413-528-0432
Introduction to Aspects of Perspective in Drawing
with Richard Britell
Career artist and veteran teacher, Richard Britell will lead the students on a drawing adventure! Description of the class is explained by way of the story below.
Tuesday, August 14
One Day Workshop
Tuition: $165
Class Size: minimum 4, maximum 6
Tuesday, August 14, 10:00 am – 4:00 pm
To register or for more information email or call the gallery
Lauren@LaurenClarkFineArt.com
413-528-0432
Horizon Line
by
Richard Britell
This drawing was done at the ocean, and, since we are at the ocean, I want to take the opportunity to discuss some issues of perspective, which can only be observed, and understood at the shore.
Every one has heard of a horizon line and a vanishing point and I am sure that most of us remember doing drawings in high school of some odd looking buildings with the assistance of a perspective lines going to a point in the middle of the paper. So we go through life imagining that above, beyond, or behind everything we see is a horizon line and we could see it if there weren’t so many things blocking our view. But at the beach we can see this horizon line, now let’s consider where it is. I have drawn a standing figure and I put the horizon line level with her knees. Why did I put it there?
To understand the answer to this question you are going to have to go to the beach. Once you get there, spread out a blanket and lay down facing the water and the horizon line. Laying flat on the sand with your head six inches from the ground, hold up your finger pointing level with the horizon, and observe that the horizon is level with your eyes when you are laying down. Now sit on the blanket with your head about thirty inches from the ground, and notice that the horizon line has come up to directly even with your eyes, the horizon line is now thirty inches from the ground also. Finally stand up and observe as you do, that the horizon line stands up also, persistently following the level of you eyes. Now that you are standing, jump up and down a few times, and notice that the horizon line will jump up and down with you. That horizon line watches you like a hawk, and your slightest movement up and down is echoed by a similar movement at the horizon.
Now lets return to my drawing, it is a view, seen by a person who is sitting on the beach, eye level with the woman’s knees and looking up at her. If I had taken a photograph of her, the horizon line would be in the same place, but if I stood up with my camera and I was a little taller than her, the horizon line in my photograph would pass over her head slightly. The horizon line is always the eye level line of the viewer.
When you get home from the beach it will be late, and the moon will be out. Look at it there up in the sky; notice how it glows with that strange omnipotent silver light. But now just jump up and down a few times there in the driveway and notice that the moon jumps up and down also. Why is this? How can it have time to pay so much attention to us, to know our every movement?
