Portrait Painting - Workshop with Robert Maniscalco

Workshop Description (from the instructor)

In this workshop we will explore value-based “light on form” painting methods to create expressive, professional level portraits. Robert will also present a few salient drawing and painting exercises in the morning sessions. Using a live model, the focus will be on gaining a deeper understanding of observable values to achieve form, character and likeness. Robert will teach you to think like a painter, presenting a short demo, paint-along style.  Honest observation and abstraction of forms will be the key.  Concrete, practical application, rather than meaningless theory, will be the order of the day.  The instruction will be tailored to allow for a deepening of the individual’s unique approach and response to the subject at hand. Expect lots of individual attention and nothing less than a major epiphany regarding how the subtle manipulation of light on form actually works in depicting realistic subjects who seem to emerge from the canvas. 

We will follow CDC guidelines in place at the time of the workshop, which could require proof of vaccination and/or the wearing of masks.

About the Instructor

Robert Maniscalco has been a professional creative his entire adult life. Born in 1959 in Detroit, he has lived in New York, New Orleans and currently in Charleston. His commission portraits and fine art are part of over a thousand collections throughout North America. In Detroit he hosted Artbeat on PBS and founded the Maniscalco Gallery. As a fine artist, he likes to work in multiple series. Perhaps his most enduring series is that of a commission portrait artist, immortalizing Supreme Court Justices as well as children and families. In 2014 Robert took on a vision-quest, called The Quench Project, in which he traveled to Haiti, producing numerous paintings, a documentary short (Out of Darkness), along with a companion book (Quench), juxtaposing the Haitian struggle with obtaining fresh water against our society’s obscene wealth inequality. Robert blogs on a wide range of subjects and written three other books, The Fishly and Point of Art. His fourth book, an Amazon #1 bestseller, is a full color drawing/painting method, called The Power of Positive Painting. He is an actor/director, writer/playwright, musician/composer and teacher, a former Adjunct Professor of fine art and theatre at Charleston Southern University and drawing illustration at the College for Creative Studies in Detroit. Robert has expanded his creative milieu to include courtroom sketching, covering the Dylann Roof and Michael Slager trials in Charleston. His multi-disciplinary play, Vincent John Doe, received its world premiere, to rave reviews, during the 2018 and 2019 Piccolo Spoletto Festivals.

Visit his website at https://www.maniscalcogallery.com/

Supply List

Suggested Brushes:  Various soft Filberts – sizes 2, 6, 14 Winsor & Newton Monarch Mongoose Brushes, Filbert, Long Handle, Size 8 (10 mm x 19 mm) offers better durability than mongoose. This unique synthetic fiber is so much like mongoose, it even has the tapered point and surface texture of the natural hair. It is stiffer than sable, but softer than hog bristle, perfect for acrylic and oil painting. Each brush is elegantly crafted with a gold-tone ferrule and a dark brown stained and lacquered handle. Use a filbert for painting fine lines and broad strokes with softer edges.Sable Flats (for harder edged statements) – sizes 4, 8, 16

Sable rounds (for softer edged statements) – sizes 4, 8, 16   Winsor & Newton Winton Hog Bristle Brushes, Filbert, Long Handle, Size 10 (25/32″ x 1-1/4″) (Skumble) Brushes (used mostly in under painting, these can be old, nasty holdouts!) – (be careful not to over use this)

Canvas:  16″ x 20″ (Ultrasmooth Portrait Duck) and 2-3 – 11 x 14’s . For professional portraits I suggest using a primed linen, such as Fredrix Linen Canvas Rolls, Oil Single Primed, 54″ x 6 yd which can be cut and stretched to size.  For stretched canvas try  Blick Studio 1-1/2″ Profile Linen Canvas, Acrylic Primed, 14″ x 18″  or Fredrix Green Label 3/4″ Profile Linen Canvas, Acrylic Primed, 16″ x 20″. There are many other surfaces that can be used, i.e.  masonite (not tempered) or plywood (easy to prime with gesso); the lumber yard will cut these to your specifications. In class, I suggest canvas paper pads (if you like it, you can stretch it) or canvas boards as an alternative to stretched canvases. Suggest: FREDRIX Kent Primed Linen Canvas #125SP

Paints:   Note about the quality of paints: Different brands may have slightly different names. I recommend the best brands you can afford because: 1. fillers really do effect the quality of paint mixes, 2. using the colors below to make the “power palette” require particular, quality pigments, and 3. in terms of quantity and quality, you really do get what you pay for!

Recommended paint brands, in order of preference: Winsor & Newton Pre-tested (Grumbucher) Gamblin Winton

Colors:  Titanium White 644 200 ml* Ivory Black 331 200 ml (used to mix neutrals) Permanent Alizarin Crimson 468 37 ml* Burnt Umber 76 37 ml* Raw Umber light 557 37 ml Prussian Blue 538 37 ml (very potent, so be careful. You may substitute Ultramarine or Winsor Blue)* Yellow Ochre 744 37 ml* Raw Sienna or Indian Yellow Burnt Sienna Thalo Green Venetian , Indian or Mars Red Cadmium Red 94 37 ml* (or Vermillion) Cadmium Yellow Deep Cadmium Yellow Pale 118 37 ml*

* absolutely necessary, these are basic colors we use in classes and workshops

Medium: 1/2 Linseed oil, 1/2 Turpenoid, mixed in a jar. (Please do not buy pre-mixed mediums) (optional: mix Damar Retouch Varnish with above – in three equal parts,)

Miscellaneous Materials:

Sketchbook (newsprint,16×20), also, I recommend a bound sketchbook to keep as a visual/narrative journal

Charcoal: pencil/compressed stick/vine

Easel – table or floor

Value Scale

Palette (paper palette pad), a piece of clear glass to be used to mix paint (Large enough to lay over your Power Palette: about 11″ x 17″)

Retardant: Oil of Cloves – drop or two in each mixture in your Power Palette will keep it usable for weeks (can get at most health food stores)

Palette Box made by “Masterson” to seal your Power Palette and freeze for future use.

Rags (cotton or SOFT paper towels)

Palette knife for mixing paint

Brush Cleaner: Turpenoid or Gamsol for cleaning brushes (DO NOT USE TURPENTINE!)

Moll Stick (used to steady hand for better control, when necessary)

Optional materials: Plastic coated Value Scale from 0 to 10 (available for purchase at workshop only from RM) Power Palette Guide (available for purchase at workshop, only from RM) TableEase Table Easel (available for purchase at workshop, only from RM) EXtra mattboard corner samples for visualizing compositions Color wheel, available at most art stores Gesso (Prime boards before class/workshop)

Registration

Registration is open to all artists. CCAL members pay $300 ($50 minimum deposit required). Non-members pay $325 ($50 minimum deposit required).

Note: This event will be held indoors. By registering for this event you agree that you understand the risks of COVID and agree to the CCAL COVID Waiver Policy.