Presents
Roberta Remy, Internationally Known Artist
Portrait Workshop
September 10-14, 2007

Location: Impact Artists’ Gallery
Tri-Main Center, Suite 545
2495 Main Street
Buffalo, NY 14214

Time: 9:30 am – 3:30 pm
Lunch: 12 noon – 1 pm Bring a bag lunch or
Visit the Bistro Café in Tri-Main Lobby. Fast service.

Fee: $400 Members
$450 Non-Members
TBA Modeling Fee

Limited Class Size. RESERVATIONS WILL BE ACCEPTED IN ORDER OF POSTMARK.
A check for the full amount payable to Impact Artists Gallery must accompany your reservation form. (This includes a $25.00 non-refundable deposit). Enclose a self-addressed STAMPED ENVELOPE for confirmation. There will be no refunds 30 days prior to workshop regardless of reason unless you provide a replacement or the workshop is canceled.
MAIL TO: Impact Artists Gallery,
Tri-Main Center, Suite 545, Buffalo, NY 14214
For further information contact the Gallery at (716) 835-6817
impact@buffalo.com

Roberta Remy
Award-winning artist Roberta Remy’s work can be found in corporate and private collections
throughout the US, Brazil and Europe, and locally at Vern Stein’s Gallery in Williamsville,
NY. She attended Parsons School of Design, School of Visual Arts and the Art Students
League of New York. She studied painting
with master painters Frank Mason, George
Passantino, David Leffel and Sherrie McGraw,
and drawing and anatomy with Robert Beverly
Hale. She has exhibited at the Albuquerque
Museum of Fine Arts. Remy has been featured
in International Artist’s new book, “How Did
You Paint That? 100 Ways to Paint Still Life
and Florals”, published in January, 2004.
Previously a New York-based illustrator
whose clients included Macmillan Publishing,
Playskool, Cabbage Patch Kids and McDonalds,
she now makes Santa Fe, New Mexico her home
base, where she’s been expanding her teaching activities since 1995.
Remy is a contemporary painter in the realist tradition: she specializes in still life,
figurative, portraiture, interiors and cityscapes. A diversity of subjects is brought to life by a
pursuit of the ideals and excellence of the Old Masters, interpreted in a contemporary spirit.
The workshop will use exclusively oil paints but very little in the way of turpentine or toxic solvents.
Name: _______________________ Registration Form

Portrait Workshop with Roberta Remy

September 10-14, 2007

Phone: __________________________________

Address: _________________________________

_________________________________________

Cell Phone: _______________________________

E-Mail Address: __________________________

Members $400, Non-Members $450,
plus model fee
____________
Supply list for Roberta Remy Portrait/Figure Class

PAINT
Flake White, Cremnitz White or Titanium White
Naples Yellow
Yellow Ochre
Venetian Red or Terra Rosa
Transparent Oxide Red
Burnt Umber
Raw Umber
Cadmium Yellow Light
Cadmium Yellow Deep or Cadmium Orange
Cadmium Red Scarlet
Alizarin Crimson
Pthalo Blue or Prussian Blue
Ultramarine Blue
Viridian Green
Ivory Black

Note: Please try to buy the best paint you can afford. Some of the “Student grade” paints don’t have the best vibrancy of color, really don’t mix well and you can get dull mixtures after having to mix a lot of paint. Therefore it’s really not a savings after all. It also confuses your memory while you are trying to observe what is supposed to be happening as the paint is getting mixed.

BRUSHES
Filberts: Bristols in sizes 2 through 12. If you can, it is good to have 2 brushes in these sizes: 4, 5, and 6. Also one round pointed sable: sizes 4 – 6. Again, buy the best brushes you can afford. It really makes a difference. I do not like synthetic hair brushes, because as you are painting if you do not have good brush control, that kind of hair picks the paint back up as you keep brushing and will create muddy colors. I prefer not to use flats and brights, as they leave very sharp edges.

PALETTE
You can use a piece of Plexiglas with a medium toned piece of Grey paper under it, or a brown wood palette. At least 12×16. I really do not recommend the white paper palettes as they confuse your judgement of values when you are mixing paint on them. There is a white plastic box with a blue plastic lid that you can have Plexiglas cut to fit, and put a grey paper under the glass. This also saves paint, as it has a tight seal and you can store it in the refrigerator.

CLEANING BRUSHES/SOLVENTS:
I prefer not using solvents to clean my brushes. My method is to first use either Murphy’s Oil Soap or “Really Works” (without pumice) http://www.VinDotco.com to get most of the paint out of the brush at the end of the painting session. Then I wash my brushes with a white colored, non perfumed soap. During the painting session, just use a good absorbent paper towel to wipe the paint out of your brushes, It’s not a good idea to use solvent to wash your brushes in at this stage, as the solvent stays in your brush and the ferrule of the brush, and it breaks down the strength of the pigment, thereby dulling your color intensity. Another important thing is to try and use at least 3 brushes and keep them separate. Use one brush, for dark values, one for medium values, and one for light values. If you need a very clean white, or yellow, it would be a good idea to just have a brush for that special color. If you have used a brush for red, it would be better to keep that brush for the dark values.

MEDIUMS
(Different than solvent) I use Maroger Medium. If you are interested in this medium, an excellent source is: http://www.oldmastersmaroger.com , El Prado, NM 1 505-758-2382. Another medium that is adequate: one third part cold pressed linseed oil, one third part Gamsol (not mineral spirits or turps), one third part Damar varnish. Liquin is acceptable as well. Don’t forget a cup for this medium.

SURFACES
9X12, 11X14, 12X14, 12X16, 14X18, 16X20 of either gessoed panels (masonite,or birch plywood, ¼ inch thick) or canvas on panel, or stretched canvas. Tone your surfaces with a neutral ground (burnt umber and ultramarine blue) to a medium value, using a paper towel to wipe off excess and even out the tone and values. An acrylic canvas or double primed Linen canvas can be improved by adding a very thin coat of white lead with a painting knife, in order to fill the holes of the canvas for a smoother surface. Then tone as for panels above.

PALETTE KNIVES
At least one mixing type, one painting type

Notebook, pen/pencil

EASEL
Some schools supply easels, or you may have to bring your own portable easel. Please check with the school