Cynthia Rosen
DEADLINE TO SIGN UP IS
SATURDAY FEB 20 – 5:00 P.M.
Feb 24 – 25 – “Movement of Colour” (10 a.m. – 4 p.m.)
Feb 27 – 28 – “Palette Knife” (10 a.m. – 4 p.m.)
Feb 24 – ” Still Life” (6 p.m. – 9 p.m.) – TO BE HELD AT DNA CREATIVE SHOPPE – FRONT ST. HAMILTON
Feb 25 – “Figurative Studio” (6 p.m. – 9 p.m.) – TO BE HELD AT DNA CREATIVE SHOPPE – FRONT ST. HAMILTON
Cynthia Rosen – Who I am
As an introduction: I am known as a knife-painter primarily working in oils. During my early art career I sold mixed medium (paint and pastel) non-objective art through galleries in New York City, NY and Philadelphia, PA. before taking a long hiatus to raise my children and teach. During this time I designed, built and painted theater sets which evolved into a brief career painting murals for private and public spaces (hospital, a childrens museum and restaurants in Long Island and NYC) primarily using acrylics. Recently I have returned to the art world primarily painting with a palette knife using oils. I have won several awards, had works accepted into NOAPS and OPA exhibits and have work presently selling through galleries in Texas, California, New York and Vermont. Click here for Cynthia’s website.
How I teach
I paint and work quickly. When painting plein air I often work on two paintings side by side, the reason of which I will explain on site. This process also allows me to cover a lot of ground quickly when giving demonstrations as well, so the vast majority of the workshop is dedicated to painting by participants as I individualize instruction.
Each person has their own visual voice and my goal is to assist participants gain skills while working to their natural proclivities. This way we can best determine what skills they have and what skills are needed.
In painting, there are composition and perspective guidelines and a basic understanding of color relationships needed. How to mix clean colors using opaque medium, layer or blend colors in transparent medium, and juxtapose colors effectively to create quality images. Whether you want to use colors in the accurate representational of the subject or in a more impressionistic or expressive manner is a personal decision. It is my job to try to impart the skills so that decision is based on knowledge and capability; leaving participants with an understanding of how to continue as they work to reach to their goals.
Watercolorists/water-medium:
Watercolor paper. I prefer hot press which has a smoother surface than cold press but that is personal choice. I recommend paper 140 lbs and up. Arches, Fabriano are historically great archival papers. Feel free to use a block (not pads), but that does limit your size. Otherwise, bring watercolor sheet papers, paper safe tape (3/4 to 1” wide) and a board to tape your paper onto (see below). If you want to experiment with Yupo, feel free to bring some sheets.
A wood or foam board to tape your paper onto and Tape (3/4-1” wide) or a watercolor block
Plein Air Easel that accommodates watercolor boards (can lay flat) and chair if needed or stool
Brushes: While Sable brushes used to be the rule, there are a lot of synthetics available that are less costly. I suggest #6, #8, #10, #12, and a foam brush or larger hake brush which allows you to wet your paper in a controlled way. Also a ‘liner’ brush. A mix of flats and rounds are helpful.
Frisket or watercolor block – this is optional. I like it because I find it freeing.
Butchers Tray or watercolor palette
Spray Bottle and water storage containers with water
Paper Towels or Rags
a soft or ebony pencil and a kneaded eraser
Paint: professional quality paint is worth purchasing if an option. The following colors are suggested but feel free to make your own substitutions:
Cadmium Red Sap Green
Cadmium Yellow Ultramarine Blue
Yellow Ochre Cerulean Blue
Brilliant or Cad Orange Prussian Blue
Alizarin Crimson Ivory Black
Burnt Sienna Burnt Umber or sepia
Violet (permanent or quinacridone) – optional color but very enriching
White Designers Gouache – I suggest a large tube
If using acrylics– please bring acrylic medium for glazing
Photos – bring half a dozen of your own photos if you prefer photos over still lifes in case of inclement weather. Photos in magazines are copyrighted
a few small bungee cords are handy if there is wind.
dress appropriately and bring water to drink you do not want to be cold or thirsty
specific to plein air: a painting umbrella. I like Bestbrella the best, it is well worth the expense if you really plan to paint plein air. for a day or two class you can do without.
But a hat with a visor is a must!!!
Oil painters
canvas boards, panels, or canvases (bring 2 per day of attendance). I personally prefer ampersand gessobord or pre-gessoed hardboard of some kind. For palette knife painting, I like to be able to scratch out which is easier on a sturdy board than on canvas and I also prefer a smooth surface as opposed to the texture of canvas.
size of your choice. I recommend 9×12, 12×16, 16×20 I would not go smaller nor larger unless you paint quickly.
Plein air easel and chair or stool if needed
A panel carrier or cardboard box top or two to carry your painting home in. You definitely need some container for carrying home your wet painting/s.
Paint: professional quality paint is worth purchasing if an option. The following colors are suggested but feel free to make your own substitutions: You can mix a lot of colors from yellow, red, blue and white. (extra bits of info: Alizarin and Viridian mixed make a rich black as does Prussian Blue and Purple. Yellow Light and Cerulean Blue make a lovely light green. Purple Diox and halo blue with white make for a good blue similar to ultramarine. Zinc White is a better mixing white than Titanium but titanium is best for intense lights and more stable. you can do without zinc, but definitely purchase a large titanium if not a titanium-zinc blend.
Cadmium Red Sap Green
Cadmium Yellow Thalo Blue or Ultramarine Blue if not buying the purple **
Brilliant or Cad Orange Prussian Blue
Alizarin Crimson Cerulean Blue
Viridian Purple Dioxazine or a deep purple violet
Yellow Light White -Titanium White and Zinc White or a titanium-zinc mix! – large tube
** you need either Thalo Blue or Ultramarine. Ultramarine is a basic cool blue and Cobalt blue is a basic warm blue, but you can mix purple dioxazine with thalo to create ultramarine. Thalo is good for making greens as well and goes far due to its intensity.
painting medium – I like Galkyd and Gamsol. Gamblin products are less toxic than the traditional Damar, linseed and stand oil mix. Galkyd also aid in hastening the drying time of the paints. But, purchase what you like.
Brushes – inexpensive brushes are fine as long as they don’t shed their hairs and a variety of brushes is handy, even if painting with a palette knife. I recommend soft brushes for boards and soft bristle brushes for canvas. #12 is good for laying a base coat of paint on your surface and I find it to be invaluable, #9, #6, #3 are handy for painting. I like flats or brights best but always keep a round brush on hand. A small brush with a fine pointed tip is handy for any detail work you may want to add. I will bring palette knifes.
Jar with lid or Brush cleaning container.
You can clean your brushes in Linseed Oil Soap, Baby oil, Citra-Solve, Brush Cleaner, Safflower oil, etc.
paint wells for your mediums while painting.
Palette – paper palettes, wood palette, though your plein air easel usually has one in it. If buying a paper palette and grey is an option, go for it.
paper towels or rags
a few small bungee cords are handy if there is wind.
dress appropriately and bring water to drink – you do not want to be cold or thirsty
specific to plein air: a painting umbrella. I like Bestbrella the best, it is well worth the expense if you really plan to paint plein air. for a day or two class you can do without.
But a hat with a visor is a must!!!
I am looking forward to working with everyone