Getting the Most From Art Workshops

I just attended an excellent workshop provided by the Toronto Watercolour Society, of which I am a member. The guest artist was Stephen Quiller. He is a fabulous artist of international acclaim and so inspirational. He paints impressionistic landscapes in water media, primarily around his home, which is in the "high country" in Colorado. I had admired his paintings  and so was determined to get the most out of the opportunity. Next time I will remember these helpful conclusions that  I reached at the end of the workshop and hope they will be helpful to you if you will be attending one in the future:
*Check the work of the instructor on the Internet to ensure the work is exciting to you and something to help your art grow.
*Read instructional books written by the artist if possible, in advance to get a "heads up" on the approach.
*Bring a camera and capture images as the work progresses for review later. Most instructors won't object.
*Take notes of new techniques and helpful hints. They may become more significant to you as your painting evolves.
*Ask questions, but find out if it is preferable to wait till there is a break in the demonstration.
*Have plentiful and appropriate supplies. Check them before you leave as it is more than annoying to be without your brushes etc. A list of supplies is usually provided in advance, but review it carefully, and see if you already have materials that can be substituted. (You can end up with very specific supplies that are not used)
*Spend time with others. Often the best tips come from fellow students.
*Be open to whatever is happening and don't be afraid to try new things.
*Be prepared to produce paintings that disappoint you. You are there to learn new things - not create masterpieces, with others around, in a limited period of time.
*Most of all - have fun!

Why Was the Art Dealer in Debt?

Of course you won't get the answer to this mind blowing question until the end of the post!
Meanwhile, to continue my foray into "Terraskin"which I mentioned in a recent post that I was about to try as a new painting support. The treeless paper, manufactured in Taiwan and sold under the TerraSkin brand, is three parts recycled calcium carbonate—the same mineral in marble and limestone—and one part polyethylene binder. It's production requires no water or bleach and only half the energy needed to make traditional paper. This produces an environmentally friendly product. It is reported to be multimedia paper and similar to 385lb watercolour paper. It is also similar to Yupo paper, which I enjoy using, but absorbs some of the paint as opposed to the paint sitting completely on the surface. You can't tear it as you do watercolour paper and it has a quiet dense feel. Below you will find my first effort on Terraskin . I used gouache, India ink and watercolour crayon. Can you see a difference from watercolour paper? This painting is 20x12 and is called Into the Woods. I am now anxious to try other media on Terraskin.
                                                               

                    


There are increasingly more new art materials on the market to entice the painter whose creative muse has taken a hike. Sometimes that can be a major distraction, both financially and in time-wasting detours. Sometimes however, they are just fun, and very occasionally point your art in a new direction.
I have just finished a home studio tour and am involved in the Willowdale Group of Artists, Spring Juried show at North York Civic Center, and the Willowdale Group of Artist's summer show at Todmorden Mills. I am focusing now on cleaning up the junk in my basement studio. After that, I will do a lot of reading, walking, taking photos and planning. I really believe in the advice that I have read, that suggests that as long as you do something in art everyday, you will keep the juices flowing. I hope so! In the meantime --- Why was the art dealer in debt? Because he had no Monet!