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The Master Copy Sketch
SOLD OUT
$200
USD
$200
USD
4 Wednesdays
Aug 19, 26, Sept 16, 23
DATES
Aug 19, 26, Sept 16, 23
5:30-8:30PM
TIME
Chelsea Bard
INSTRUCTOR
All levels/ages
LEVELS/AGES
OVERVIEW: Students will create four Master Copy Sketches – 1 master copy per session, with a focus on composition & hue/value/chroma arrangement.
Throughout the centuries painters have spent time studying and copying great artists that came before them. In this class we will study how master painters of the past ordered and expressed information through compositional design, hue/value/chroma arrangement, and paint application.
The course will commence with a brief lecture in the purpose and practice of The Master Copy. Each session students will choose a painting (images provided by the academy) and create a copy sketch in oil paint where they will aim to examine and express the design choices of their selected master painting. This class is a great opportunity for students looking to hone their ability in translating accurate hue/value/chroma relationships, paint application, and develop their knowledge of compositional design.
Large prints of paintings by artists the likes of Rembrandt, Velazquez, Vermeer will be provided for use in class. Images are provided to ensure quality, utility, and continuity with instruction for learning purposes.
OPEN TO ALL SKILL LEVELS – beginners as well as advanced students are welcome!
SURFACE
DRAWING BOARD & TAPE/CLIPS
We will be using drawing boards to setup the painting surface and reference painting print next to each other. Please bring your own drawing board, we have very limited supply.
PAINTING SURFACE
Any smooth weave portrait-grade linen or canvas, primed panel or primed paper will do. Does not need to be stretched or mounted.
Size may range from 4”x6” - 8”x10”, does not need to be any larger.
PAINT
All colors are suggested but not required. Bring what you are comfortable with. Below are two options to consider, an expanded palette and a simplified palette.
Extended Palette:
Raw Umber
Burnt Umber
Ivory Black
Ultramarine Blue
Cobalt
Alizarin Claret, or Alizarin Permanent
Red (pick one): English Red, Venetian Red, Pozzouli Red
Cadmium Red
Cadmium Yellow
Lead White (any) or Titanium White
Naples Yellow or Lead Tin Yellow
Yellow Ochre
Raw Sienna
Viridian
Simplified palette:
Raw umber
Burnt umber
Ivory black
Alizarin Claret or Permanent alizarin
Reds (Pick one): English red, Venetian red, Pozzouli red
Cad red
Yellow ochre
Raw sienna
Mediums and Solvents:
Linseed or Walnut Oil
Gamsol or Odorless Mineral Spirits (No turpentine please)
Brushes:
Suggested - Round brushes, size 2, 4, 6. Soft synthetic and sables for painting people. A variety of shapes and textures for other subject matter.
I predominantly use Rosemary & Co brushes. A variety of Synthetics and Natural Hair brushes- Kolinsky Sables or their supplement “Red Dot”, Masters Choice Series, Ivory and Michael Klein Series.
Other:
Gamsol jar
Medium jar
Paper towels or rags
Brush Cleaner
Chelsea Bard (b. 1991) is an American visual artist, most known for her figurative work. A native New Englander, Chelsea obtained a BFA from the Hartford Art School in Connecticut before pursuing a classical foundation in painting and draftsmanship at the Grand Central Atelier in New York City. Trained in the methods and concepts sown in the Renaissance, she seeks to bring forth the tools and spirit of the tradition in resonant, authentic and vital ways. Her creative motivations and influences range in the symbolist, sensualist and tonalist movements. Bard’s widely acclaimed work hangs in collections throughout North America, Europe, United Kingdom, Australia and Japan including at the Stobart Foundation and The New Salem Museum and Academy of Fine Art. Chelsea recently moved to New Salem, MA to be an artist-in-residence and instructor at the New Salem Museum and Academy of Fine Art.
The Master Copy Sketch
$200
USD
SOLD OUT
$200
USD
OVERVIEW: Students will create four Master Copy Sketches – 1 master copy per session, with a focus on composition & hue/value/chroma arrangement.
Throughout the centuries painters have spent time studying and copying great artists that came before them. In this class we will study how master painters of the past ordered and expressed information through compositional design, hue/value/chroma arrangement, and paint application.
The course will commence with a brief lecture in the purpose and practice of The Master Copy. Each session students will choose a painting (images provided by the academy) and create a copy sketch in oil paint where they will aim to examine and express the design choices of their selected master painting. This class is a great opportunity for students looking to hone their ability in translating accurate hue/value/chroma relationships, paint application, and develop their knowledge of compositional design.
Large prints of paintings by artists the likes of Rembrandt, Velazquez, Vermeer will be provided for use in class. Images are provided to ensure quality, utility, and continuity with instruction for learning purposes.
OPEN TO ALL SKILL LEVELS – beginners as well as advanced students are welcome!
SURFACE
DRAWING BOARD & TAPE/CLIPS
We will be using drawing boards to setup the painting surface and reference painting print next to each other. Please bring your own drawing board, we have very limited supply.
PAINTING SURFACE
Any smooth weave portrait-grade linen or canvas, primed panel or primed paper will do. Does not need to be stretched or mounted.
Size may range from 4”x6” - 8”x10”, does not need to be any larger.
PAINT
All colors are suggested but not required. Bring what you are comfortable with. Below are two options to consider, an expanded palette and a simplified palette.
Extended Palette:
Raw Umber
Burnt Umber
Ivory Black
Ultramarine Blue
Cobalt
Alizarin Claret, or Alizarin Permanent
Red (pick one): English Red, Venetian Red, Pozzouli Red
Cadmium Red
Cadmium Yellow
Lead White (any) or Titanium White
Naples Yellow or Lead Tin Yellow
Yellow Ochre
Raw Sienna
Viridian
Simplified palette:
Raw umber
Burnt umber
Ivory black
Alizarin Claret or Permanent alizarin
Reds (Pick one): English red, Venetian red, Pozzouli red
Cad red
Yellow ochre
Raw sienna
Mediums and Solvents:
Linseed or Walnut Oil
Gamsol or Odorless Mineral Spirits (No turpentine please)
Brushes:
Suggested - Round brushes, size 2, 4, 6. Soft synthetic and sables for painting people. A variety of shapes and textures for other subject matter.
I predominantly use Rosemary & Co brushes. A variety of Synthetics and Natural Hair brushes- Kolinsky Sables or their supplement “Red Dot”, Masters Choice Series, Ivory and Michael Klein Series.
Other:
Gamsol jar
Medium jar
Paper towels or rags
Brush Cleaner
Meet your Instructor
Chelsea Bard
Chelsea Bard (b. 1991) is an American visual artist, most known for her figurative work. A native New Englander, Chelsea obtained a BFA from the Hartford Art School in Connecticut before pursuing a classical foundation in painting and draftsmanship at the Grand Central Atelier in New York City. Trained in the methods and concepts sown in the Renaissance, she seeks to bring forth the tools and spirit of the tradition in resonant, authentic and vital ways. Her creative motivations and influences range in the symbolist, sensualist and tonalist movements. Bard’s widely acclaimed work hangs in collections throughout North America, Europe, United Kingdom, Australia and Japan including at the Stobart Foundation and The New Salem Museum and Academy of Fine Art. Chelsea recently moved to New Salem, MA to be an artist-in-residence and instructor at the New Salem Museum and Academy of Fine Art.
Chelsea Bard (b. 1991) is an American visual artist, most known for her figurative work. A native New Englander, Chelsea obtained a BFA from the Hartford Art School in Connecticut before pursuing a classical foundation in painting and draftsmanship at the Grand Central Atelier in New York City. Trained in the methods and concepts sown in the Renaissance, she seeks to bring forth the tools and spirit of the tradition in resonant, authentic and vital ways. Her creative motivations and influences range in the symbolist, sensualist and tonalist movements. Bard’s widely acclaimed work hangs in collections throughout North America, Europe, United Kingdom, Australia and Japan including at the Stobart Foundation and The New Salem Museum and Academy of Fine Art. Chelsea recently moved to New Salem, MA to be an artist-in-residence and instructor at the New Salem Museum and Academy of Fine Art.