Using the modern Alla Prima approach, we will concentrate on capturing the movement and energetic form of the figure, the unique character and expression of the portrait, and the qualities of light and color and warm/cool temperature changes.
Starting from a large abstract block-in, you’ll learn to trust your decision making. This will give you the freedom to think about and change your drawing, color, value and edge handling early on, not allowing your painting to become too precious to change. You’ll learn to develop a plan for your painting, each week your focus can narrow to more specific detail, refining all the earlier concerns while never losing the big abstract form developed previously. Finally, you’ll be finished, not because you don’t know what to do anymore, but because you’ve executed you’re plan.
Each pose will last for the month and will alternate between nude figure studies, and clothed portrait studies. There will be regular one on one instruction and critique. Roy will paint along with the class developing paintings of his own for demonstration purposes.
Life long New Yorker, Roy Mendl began his oil painting career at age 13 at The Arts Students League, and received his BFA from the School of Visual Arts. Paralleling a career in graphic design, Roy continued his training studying the Riley Method with John F. Murray, as a copyist at the Metropolitan Museum of Art, and back where it began The Arts Students League working with Dan Thompson and Max Ginsburg. As the founder of Studio 19, he led a bi-weekly group of artists dedicated to honing their craft, painting from a live model. Roy’s work primarily concentrates on people, portraiture and nudes, often times at the Chelsea Classical Studio, as well as landscapes from his home away from home, in the Northern Catskills. Roy’s work has been exhibited in solo as well as group shows, and hangs in private collections in the U.S., and Europe.
6:30 PM – 9:30 PM
Paint colors (oils):
Cadmium Yellow Lt. or Pale
Cadmium Green Lt.
Cinnabar Green Medium
Ultra Marine Blue
Brushes: a selection of hog bristle filbert & flat shaped bristle brushes: #2, #4, #6 #8 (Any brand of hog bristle is fine but I like Silver Brush “Grand Prix”). Synthetic bright or flat #4 or #6 (used for initial line drawing)
Medium: linseed oil, and a solvent such as CCS Spike Lavender Oil, turpenoid or gambol.
Two small metal cups for solvent and medium
Rags (or good paper towels)
Canvas or Panels: 16”x 20” up to 20″x 30″ Preferably oil primed linen canvas stretch or taped to a board. Ampersand gesso panels are also good for smaller sizes. Toned to a mid-value gray or with a thin coating of raw umber oil paint (canvas must be dry).