AMERICAN

ARTIST ®

WINTER 2009

Workshop
FOR OIL & ACRYLIC PAINTERS ®

artistdaily.com

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CONTENTS
4 Editor’s Note

6 Ben Fenske: Six Basics of Landscape Painting

BY M. STEPHEN DOHERTY
During visits back to the United States from his home in
Italy, Ben Fenske teaches fundamental concepts and skills
that can help landscape painters make progress.

20 Junn Roca: Directing the Painting Process Through

Artistic License
BY MOLLY SIPLE
During a recent California landscape workshop, Junn
Roca gave his students the freedom they needed to make
design, value, and color decisions that flowed from their
own artistic instincts rather than strict formulas.

38 Curt Walters: Prepare to Paint a Complicated Subject

BY M. STEPHEN DOHERTY
Arizona artist Curt Walters, one of the best-known
painters of the Grand Canyon, conducted a special
workshop along the South Rim that challenged even
the most experienced painters. “The canyon is so
complicated in terms of the shapes, atmosphere, light,
and colors that one has to be well-organized and
disciplined,” Walters told the participants.

50 John Cogan: Finding Your Own Way in Acrylics

BY BOB BAHR
This New Mexico painter has found novel ways to
accomplish his goals, including the use of the recently
introduced, slower-drying acrylic paints.

62 Graydon Parrish: A Rational Approach to Color Hue,

Chroma, and Value
BY M. STEPHEN DOHERTY
During an intense three-week workshop in New York
City, Graydon Parrish took students through a series
of exercises to help them understand and apply the
20
Munsell color system.
 COVER
72 Donald Demers: An Evolving Approach to
Curt Walters painting
Teaching Landscape Painting the Grand Canyon
BY LORI WOODWARD (photo reversed).
For years students have been lining up to get into 84
landscape painter Donald Demers’ workshops, and
those who are regular students of the instructor know
that as Demers evolves and advances as a painter, so
does his instruction.

84 Elizabeth Torak: How to Make Emotional

Connections With Your Subjects
BY M. STEPHEN DOHERTY
During a workshop on painting still lifes and
landscapes, this Vermont artist emphasized that
artists’ emotional responses to gestures, movements,
and designs are far more significant than their
ability to record the exact physical appearance of
their subjects.

96 Coming in...

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