Meeting Times: Sundays 9:30AM - 1PM
Early Bird ($25 off) ends April 15
JPA is pleased to bring in Shauna Marley as our resident teacher artist for this workshop.
Shauna
Over four weeks, students will develop a strong foundation in color theory and its practical application in painting. Beginning with the relationships between primary, secondary, and complementary colors, students will explore hue, chroma, and value through exercises focused on creating visual contrast. They will study perceptual versus localized color in historical and observational contexts while working from still life. As the course progresses, emphasis shifts to color mixing and efficiency, encouraging students to synthesize complex visual information into deliberate, specific palettes rather than detailed rendering. Students will then investigate the material qualities of paint, including undertones and mass tones, and learn techniques such as glazing and layered painting starting from an underpainting. In the final week, students will examine color relativity, limited palettes, and tonal harmony, drawing on historical examples to explore how color relationships establish mood and cohesion. By the end of the course, students will be able to mix and apply color with intention, understand its relational dynamics, and use a range of techniques to create unified, expressive paintings.
Week 1: Color Theory
Students will look at examples of “Perceptual color” and “Localized color” in paintings from Cezanne to Morandi and work from model or still life with an eye towards perceptual color
Week 2: Color Synthesis and Efficiency
Students work in short session painting from a complex set up. They will be instructed to mix color carefully on the pallet, synthesizing complexity into a few efficient colors Emphasis will be placed on color specificity rather than rendering
Week 3: Color and Materiality
Understanding a pigment’s “under tone’ and “mass tone”
Glazing demo and applications (mixing own paint from pigments). Students will be instructed to begin work with an underpainting, a single transparent pigment with a distinct undertone. Students will build up their paintings with an eye towards glazing and a layered approach
Week 4: Relativity, Color Triads, Limited pallets
Explore working from life with a low contrast pallet, all paint appearing a similar hue -Poly chrome within monochrome; American Tonalists, Malevich (early), Aaron Douglas, Henery Ossawa Tanner (late)
Supplies List
Supplies needed (Please check in with us if you need alternative arrangements /ideas for supplies):
Brushes* (Have at least 3 or 4 brushes of different sizes, stiff hogs-hair best for oil)
Rags
Paint (Oil paint set, or Acrylic)
Ideally:
Titanium white,
Burnt Sienna,
Ultramarine Blue
Cerulean Blue (hue)
Alizarin Crimson
Cadmium Red (hue)
Cadmium Yellow (hue)
Yellow Ochre
Medium (Linseed oil and Gamsol/mineral spirits)
a 5×7”, 9×12”, or 11×14” value pack is a good start
2 glass jars with lids
Paint scraper
Rubber gloves
Easels, palettes, and drawing boards will be provided at the studio.
Meeting Times: Sundays 9:30AM - 1PM
Early Bird ($25 off) ends April 15
JPA is pleased to bring in Shauna Marley as our resident teacher artist for this workshop.
Shauna
Over four weeks, students will develop a strong foundation in color theory and its practical application in painting. Beginning with the relationships between primary, secondary, and complementary colors, students will explore hue, chroma, and value through exercises focused on creating visual contrast. They will study perceptual versus localized color in historical and observational contexts while working from still life. As the course progresses, emphasis shifts to color mixing and efficiency, encouraging students to synthesize complex visual information into deliberate, specific palettes rather than detailed rendering. Students will then investigate the material qualities of paint, including undertones and mass tones, and learn techniques such as glazing and layered painting starting from an underpainting. In the final week, students will examine color relativity, limited palettes, and tonal harmony, drawing on historical examples to explore how color relationships establish mood and cohesion. By the end of the course, students will be able to mix and apply color with intention, understand its relational dynamics, and use a range of techniques to create unified, expressive paintings.
Week 1: Color Theory
Students will look at examples of “Perceptual color” and “Localized color” in paintings from Cezanne to Morandi and work from model or still life with an eye towards perceptual color
Week 2: Color Synthesis and Efficiency
Students work in short session painting from a complex set up. They will be instructed to mix color carefully on the pallet, synthesizing complexity into a few efficient colors Emphasis will be placed on color specificity rather than rendering
Week 3: Color and Materiality
Understanding a pigment’s “under tone’ and “mass tone”
Glazing demo and applications (mixing own paint from pigments). Students will be instructed to begin work with an underpainting, a single transparent pigment with a distinct undertone. Students will build up their paintings with an eye towards glazing and a layered approach
Week 4: Relativity, Color Triads, Limited pallets
Explore working from life with a low contrast pallet, all paint appearing a similar hue -Poly chrome within monochrome; American Tonalists, Malevich (early), Aaron Douglas, Henery Ossawa Tanner (late)
Supplies List
Supplies needed (Please check in with us if you need alternative arrangements /ideas for supplies):
Brushes* (Have at least 3 or 4 brushes of different sizes, stiff hogs-hair best for oil)
Rags
Paint (Oil paint set, or Acrylic)
Ideally:
Titanium white,
Burnt Sienna,
Ultramarine Blue
Cerulean Blue (hue)
Alizarin Crimson
Cadmium Red (hue)
Cadmium Yellow (hue)
Yellow Ochre
Medium (Linseed oil and Gamsol/mineral spirits)
a 5×7”, 9×12”, or 11×14” value pack is a good start
2 glass jars with lids
Paint scraper
Rubber gloves
Easels, palettes, and drawing boards will be provided at the studio.
