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Rick Piloco 2 Hour Portrait Painting Demonstration – December 22, 2016

MATERIALS

Surface: Rick uses oil pre-primed canvases (not acrylic) on stretcher or mounted on board.  [Rick re-stretched the canvas and used the canvas keys to make the canvas more taught as it was loose.]

Oils: Rick mixes his paint brands and feels that there are some colors that you can not get in particular brands.

Palette: Rick uses two whites: flake white and a lead white; one white is more yellow and the other more blue.

Brushes: Rick prefers to use the largest possible brushes for as long as possible, especially when painting alla prima.  He generally tries to use only two brushes, one for lights and one for dark colors.  Rick uses square, flat, bright or filbert shapes but will use them all depending on what is available.

Medium: Chelsea Classical Studio School of Fine Arts (CCS) lean medium [this version was custom blended for Rick as a test using 50% Spike Oil & 50% home made sun thickened linseed oil).  The regular CCS Lean Medium is 50% linseed oil & 50% Spike Oil.

Rick set up the model [behind left] under a store light [above] and painted her at an angle while she looked in another direction.  The model was angled to have a good balance of light and dark moments.  The canvas is white initially (not pre-tinted) and sits on a tripod travel easel.  Rick prefers to set up his palette on another stand in front of him so that he can easily mix colors and aids while he is teaching/talking.

Rick points out his palette layout and colors.  He arranges the colors darkest on the left to lightest on the right.  He places one warm and one cool version of each basic color next to each other.  He also includes his two whites (see above for description of exact colors).  Rick was using a rectangular palette that was on hand and uses various shapes and sizes with no real preference.  The base color of the palette should be similar to the base color of the canvas you plan to use.  Rick covers the canvas in a neutral warm brown which roughly matches his palette color to make mixing colors easier.  His two mediums are in small cups, his custom CCS medium (see above) and CCS brush cleaner.

Rick shows off the two basic larger brushes that he uses for almost the entire demo (see above for description).

Rick first plans the composition by laying out the basic figure shape, reviewing the angles and proximity to the canvas edges.  He paints in a warm neutral mixture brown.  He draws the basic rough contour.

Rick next establishes the basic NO TAN which is the simple black or white shapes.  Lighter shapes are group with the LIGHTS and darker shapes are grouped and simplified with the DARKS.  The DARKS are painted with the warm neutral brown mix of paint and lights are left the color of the white canvas initially.  Rick draws and fills in the basic simplified dark shapes.

Rick quickly creates the NO TAN, usually within the first 10-15 minutes model sitting.  The painting should have some character and feel of the model because the NO TAN.

In the next 10-15 minute sitting, Rick makes sure that the entire canvas is covered.  He uses a dark or light warm brown.  The light warm brown is used for the “white” of the NO TAN.  Edges and shapes are adjusted.

When covering the lights, Rick will try to match the TONE and HUE (in brown) as best as possible to match the scene.  Rick chose intentionally NOT to match the background TONE to better allow the model to stand out in the final painting.

By the end of the 2nd 10-15 minute sitting, Rick re-inforces the darks and adjusts and refines the shapes and contours.

Over the next few 10-15 minute model sittings, Rick refines the shapes and works progressively smaller but tries to keep all his moves as large as possible, still using the largest brush possible.  Tones and Hues begin to be matched.

In the last 2-3 sittings, Rick introduces white and lights and holds off as long as possible to do this.  He tries to keep his colors as clean as possible, not wanting to mix white or black into his paints.  Here he has started to build up the whites.  But the entire painting has been kept fairly thin and becomes progressively heavier and thicker with paint when he moves to adding the lights.

Rick cools/greys down the background to better match the HUE but still chooses to adjust the TONE to help the figure stand out.

Rick continues to refine the shapes not allowing himself to get to fixed on capturing one aspect.  He moves constantly around on the painting keeping all his gestures and refinements as big as possible, unwilling to “fix” anything before its time.

The painting was completed within 1 hour and 45 minutes.  It was worked up fast and given more time and multiple sittings would be progressively more finished.  Rick believes that you never know when painting from life, how much time you may get; you need to be able to capture the character and feel of the model within a short period of time and his method of creating a NO TAN allows for that.

Explore Rick’s Classes:

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LIVE Free Painting Demo & Made For You Medium

Live Painting Demo & Custom Medium Made For You

Rick Piloco | Brandon Soloff

Thursday, December 22, 2016
6:00 pm – 8:00 pm EST

FREE TO PUBLIC

MEDIUMS FOR ONE NIGHT ONLY SPECIAL OF $5/OUNCE!

Jerry’s International Palette Shop
Fine Art Supplies
111 Fourth Avenue,
New York, NY 10003

Jerry’s Palette Shop with be home to the first ever Chelsea Classical Studio Custom Oil Medium Bar. You can stop by and have your very own painting medium uniquely made for you. On December 22, 2016 from 6-8PM, the Palette Shop will have Rick Piloco sharing his favorite mediums while doing a portrait demo. Brandon Soloff from Chelsea Classical Studios will also be in attendance to answer all your questions! On this one night only, all attendees will be able to get their mediums for $5 per ounce! Stop by for the unveiling of the bar! See you then!

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Dominique Medici Free Online Painting Demo – 3 Hour

16. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.

16. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.

DOMINIQUE MEDICI
FREE ONLINE
PORTRAIT PAINTING DEMONSTRATION
3 HOURS

ABOUT DOMINIQUE MEDICI

Dominique Medici is a NYC-based artist specializing in both Egg tempera and Oil painting. She studied in London and has exhibited internationally, including Art in Action, Royal Society of Portrait Painters, Christies Young Artist Exhibition and the Society of Portrait Painters. She was a semi finalist in 2006 Outwin Boochevor Portrait Completion and recently received an honorable mention in the 2014 Portrait Society of America members show and honorable mention for portraiture during Oil Painters of America’s 24th Annual National Juried Show. Dominique has undertaken numerous international portrait commissions and her work in displayed in many private collections throughout Europe and the US, including Hugh Jackman and Deborra-Lee Furness.

Dominique has a passion for teaching and has taught extensively both privately and publicly.

Dominique Medici
http://www.facebook.com/dominique.medici

MATERIALS

Drawing: (Winsor & Newton) Blue-Black.

Surface: Masonite Hardboard primed with Oil and a neutral grey/brown wash

Oils: Gamblin ; Winsor & Newton

Palette: Titanium White (Gamblin), Cadmium Yellow Light (Gamblin), Quinacridone Red (Gamblin), Cobalt Teal (Gamblin), Blue Black (Winsor & Newton)

Brushes: Hog Hair Flat or Filbert / Bristle Brush #4 (2) , #6 (2), #8 (1), & Kolinsky Sable #4 (1)

Medium: Chelsea Classical Studio Linseed Oil Pale

Brush Cleaner: Chelsea Classical Studio Lavender Brush Cleaner

00. Setting up the pose and lighting
00. Setting up the pose and lighting
01. Placement, looking at the overall basic shape
01. Placement, looking at the overall basic shape
02. Now considering position and scale
02. Now considering position and scale
03. Beginning ro work out basic proportions
03. Beginning to work out basic proportions
04. Without locking in to much drawing I want to get a basic play of light and shade
04. Without locking in too much drawing I want to get a basic play of light and shade
05. I start using color, looking for the basic underlying color/ halftone for the light and shadow planes respectively
05. I start using color, looking for the basic underlying color/ halftone for the light and shadow planes respectively
06. The “base colors” are used to model the form, to try to get sense of the volume without using details
06. The “base colors” are used to model the form, to try to get sense of the volume without using details
07. With the base colors established I am now trying to extend the value/color range
07. With the base colors established I am now trying to extend the value/color range
08. I am differentiating the warm and cool passages in the face, also using complementary colors to help create contrast.
08. I am differentiating the warm and cool passages in the face, also using complementary colors to help create contrast.
09. I am beginning to look at the features and working on modeling the forms.
09. I am beginning to look at the features and working on modeling the forms.
10. I am trying to lock onto her likeness and character at this point and gently manipulating the edges between forms to get the right look
10. I am trying to lock onto her likeness and character at this point and gently manipulating the edges between forms to get the right look
14. I am now focusing on the eyes, nose and lips and trying to get her expression with as little changes as possible.
11. I am now focusing on the eyes, nose and lips and trying to get her expression with as little changes as possible.
15. almost no painting is happening at this stage, just comparing and making subtle shifts to edges and adding small spots of local color
12. almost no painting is happening at this stage, just comparing and making subtle shifts to edges and adding small spots of local color
16. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.
13. Finally, I felt the body was distracting and not really adding anything to the study. In the last few moments with one or two sweeps of the rag I took out the upper body, leaving the more suggestive sketch from earlier.

Take one of Dominique Medici’s classes
at Chelsea Classical Studio
or at dominiquemedici.com

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Dominique Medici: Emerging

Dominique Medici: Emerging
Dominique Medici: Emerging
Dominique Medici: Emerging

NEW EXHIBITION!

DOMINIQUE MEDICI: Emerging

Presented by Chelsea Classical Studio School of Fine Art

Thursday, October 20 – Sunday, October 30, 2016

Gallery Hours:
October 21-30, 2016  12:00 pm – 8:00 pm

Opening Reception
Thursday, October 20, 2016  6:00 pm – 9:00 pm

Chelsea Classical Studio
528 West 26th Street (Between 10th and 11th ave)
Suite #415, New York City, NY  10001

FREE AND OPEN TO THE PUBLIC

ABOUT THE ARTIST

Dominique Medici is a NYC-based artist specializing in both Egg tempera and Oil painting. She studied in London and has exhibited internationally, including Art in Action, Royal Society of Portrait Painters, Christies Young Artist Exhibition and the Society of Portrait Painters. She was a semi finalist in 2006 Outwin Boochevor Portrait Completion and recently received an honorable mention in the 2014 Portrait Society of America members show and honorable mention for portraiture during Oil Painters of America’s 24th Annual National Juried Show and the Margaret Dole Award at the Catharine Lorillard Wolfe Art Club 118th Annual Exhibition . Dominique has undertaken numerous international portrait commissions and her work in displayed in many private collections throughout Europe and the US, including Hugh Jackman and Deborra-Lee Furness. Dominique has a passion for teaching and has taught extensively both privately and publicly.

“I love working from life with direct observation because it is tangible and concrete. However, there is something that lies behind the obvious, a sense of mystery and wonder. Whether it is the model in the studio, a stream in woods or a crowded downtown scene, life has a sparkle and shimmer. I love connecting with that and trying to get an expression of it directly in my work. I am always searching for a quality of stillness in my work. There is a profound and serene joy that washes over when the boundary between subject and object is lost. My hope is that my viewers get a sense of this when looking at my work”—Dominique Medici

http://dominiquemedici.com

 

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Max Ginsburg: From Life Demo & Retrospective Talk

Oil on canvas 40 in x 80 in - 2013 In this painting I'm concerned with 'good' and 'evil', the 'have nots' and the 'haves'. Corporate profits are soaring while people are losing their jobs, their homes, and their civil rights are being restricted.
Oil on canvas 40 in x 80 in - 2013 In this painting I'm concerned with 'good' and 'evil', the 'have nots' and the 'haves'. Corporate profits are soaring while people are losing their jobs, their homes, and their civil rights are being restricted.
Oil on canvas 40 in x 80 in – 2013 In this painting I’m concerned with ‘good’ and ‘evil’, the ‘have nots’ and the ‘haves’. Corporate profits are soaring while people are losing their jobs, their homes, and their civil rights are being restricted.

MAX GINSBURG: From Life Demo & Retrospective Talk

From life painting demonstration and accompanying talk with slide show
by Artist Max Ginsburg discussing his work  from 1956 to 2016,
working process, multi-figure painting, and his Social Realist themes
Presented by Chelsea Classical Studio School of Fine Art

Sunday, September 25, 1016
2:00 pm – 5:00 pm

The Highline Loft Gallery
508 West 26th Street (Between 10th and 11th ave)
Suite 5G, New York City, NY  10001

TICKET PRICE: $35/person
It is recommended to buy tickets BEFORE the event as space will be limited
and there may not be room for walk-in/pay at the door attendees.





ABOUT THE ARTIST

Since 1953, Max Ginsburg has exhibited extensively in public venues and galleries, won various awards, and his paintings are part of many museums and private collections. In the years 1980-2004, Max was a prominent illustrator for major publications. Long admired as a teacher, Max taught from 1960-1982 at H. S. Art & Design, 1984-2000 at the School of Visual Arts, 2008-present at the Art Students League and has conducted many workshops around the U.S. and abroad. In 2011 he published his book, Max Ginsburg – Retrospective.

AWARDS

The William Draper Grant
Portrait Society of America, Portrait Painting Competition, 2015

Solo Exhibition
ArtRage Gallery in Syracuse, NY, 2014

Gold Medal Award
California Art Club for Life Time Achievement in the Arts, 2013

Best In Show
Art Renewal Center on line Competition, 2011

Retrospective Solo Exhibition
The Butler Institute of American Art, Youngstown, OH, 2011

Retrospective Solo Exhibition
The Salmagundi Club, New York, NY, 2011

http://maxginsburg.com
http://maxginsburgillustration.com

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Max Ginsburg: The Realities of Our Times

Oil on canvas 50in x 72in 2010 - I had decided to use my studio's natural sky light directly on the models again, as I did in my Torture Abu-Ghraib painting. This gave a more solid three-dimensional look to the forms in contrast to the flatter look of candid photography, although the candid shots have other redeeming qualities. I based this composition on my observation of people waiting for New York City buses. Of course each model brings his or her own personality into the mix. The location for my background was 96th Street near Broadway in Manhattan.

Oil on canvas 50in x 72in 2010 - I had decided to use my studio's natural sky light directly on the models again, as I did in my Torture Abu-Ghraib painting. This gave a more solid three-dimensional look to the forms in contrast to the flatter look of candid photography, although the candid shots have other redeeming qualities. I based this composition on my observation of people waiting for New York City buses. Of course each model brings his or her own personality into the mix. The location for my background was 96th Street near Broadway in Manhattan.

Oil on canvas 50in x 72in 2010 – I had decided to use my studio’s natural sky light directly on the models again, as I did in my Torture Abu-Ghraib painting. This gave a more solid three-dimensional look to the forms in contrast to the flatter look of candid photography, although the candid shots have other redeeming qualities. I based this composition on my observation of people waiting for New York City buses. Of course each model brings his or her own personality into the mix. The location for my background was 96th Street near Broadway in Manhattan.

NEW EXHIBITION!

MAX GINSBURG: The Realities of Our Times

An exhibition of ten recent major works from Artist Max Ginsburg
Presented by Chelsea Classical Studio School of Fine Art

Saturday, September 24 – Wednesday, October 12, 2016

Gallery Hours:
Monday – Sunday, 12:00 pm – 6:00 pm
Thursday 12:00 pm – 8:00 pm

Opening Reception
Saturday, September 24, 2016 6:00 pm – 8:00 pm

The Highline Loft Gallery
508 West 26th Street (Between 10th and 11th ave)
Suite 5G, New York City, NY  10001

FREE AND OPEN TO THE PUBLIC

ABOUT THE ARTIST

Since 1953, Max Ginsburg has exhibited extensively in public venues and galleries, won various awards, and his paintings are part of many museums and private collections. In the years 1980-2004, Max was a prominent illustrator for major publications. Long admired as a teacher, Max taught from 1960-1982 at H. S. Art & Design, 1984-2000 at the School of Visual Arts, 2008-present at the Art Students League and has conducted many workshops around the U.S. and abroad. In 2011 he published his book, Max Ginsburg – Retrospective.

AWARDS

The William Draper Grant
Portrait Society of America, Portrait Painting Competition, 2015

Solo Exhibition
ArtRage Gallery in Syracuse, NY, 2014

Gold Medal Award
California Art Club for Life Time Achievement in the Arts, 2013

Best In Show
Art Renewal Center on line Competition, 2011

Retrospective Solo Exhibition
The Butler Institute of American Art, Youngstown, OH, 2011

Retrospective Solo Exhibition
The Salmagundi Club, New York, NY, 2011

http://maxginsburg.com
http://maxginsburgillustration.com

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Portraits and Still Lifes An Exhibition by Artist Aaron Seckman

Portraits and Still Lifes An Exhibition by Artist Aaron Seckman

Portraits and Still Lifes An Exhibition by Artist Aaron Seckman

NEW EXHIBITION!
Portraits and Still Lifes
An Exhibition by Artist Aaron Seckman
June 16 – July 9, 2016
Saturdays 10am – 4:00 pm Sundays 10am – 2:00 pm and by appointment

Opening Reception
Friday, June 17, 2016 from 6:30 pm – 9:30 pm
Chelsea Classical Gallery
526 West 26th Street (Between 10th and 11th ave)
Suite #415
New York, NY 10001

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Alla Prima Sketches: An Exhibition of 50 Alla Prima Oil Sketches by Artist Brandon Soloff

Alla Prima Sketches: An Exhibition of 50 Alla Prima Oil Sketches by Artist Brandon Soloff
Alla Prima Sketches: An Exhibition of 50 Alla Prima Oil Sketches by Artist Brandon Soloff
Alla Prima Sketches: An Exhibition of 50 Alla Prima Oil Sketches by Artist Brandon Soloff

June 11-12, 2016
12:00 pm – 6:00 pm

Opening Reception
Friday, June 10, 2016 from 6:00 pm – 9:00 pm

Chelsea Classical Gallery
526 West 26th Street (Between 10th and 11th ave)
Suite #415
New York, NY 10001

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Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016

Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
Rick Piloco 3 Hour Portrait Painting Demonstration – May 5, 2016
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Decade: Paintings, Drawings and Prints by Takasho Uesugi and Satoshi Okada

Decade: Paintings, Drawings and Prints by Takasho Uesugi and Satoshi Okada, Takasho Uesugi, Satoshi Okada, Classical Realism, Realism, Contemporary Realism, Traditional Painting
Decade: Paintings, Drawings and Prints by Takasho Uesugi and Satoshi Okada, Takasho Uesugi, Satoshi Okada, Classical Realism, Realism, Contemporary Realism, Traditional Painting
Decade: Paintings, Drawings and Prints by Takasho Uesugi and Satoshi Okada, Takasho Uesugi, Satoshi Okada, Classical Realism, Realism, Contemporary Realism, Traditional Painting

May 7, 8, 14, 15, 2016
with Opening on Friday, May 6, 2016 6:00 pm – 9:00 pm

at the Chelsea Classical Gallery
526 West 26th Street (Between 10th and 11th ave)
Suite #415
New York, NY 10001