The Diagnostic Painter workshop, also known as Sleep Away Art Camp for some of us, is a 4 day workshop hosted at the Ani Art Academy in Pennsylvania. Anthony Waichulis is the best tromp l’oeil painter in the world, and so when there was an opportunity to take a workshop from him, and a bunch of art friends were already going, how could I say no?!?!
The beauty in these exercises, especially for advanced painters, is that there is nowhere to hide. It’s easy to distract yourself or hide certain deficiencies behind information and details. Also, we are purposely told to BRING WHAT WE NORMALLY USE. This mean we have NO EXCUSES as to our capability for doing exercises… but it also allows for us to potentially see where some of current actions, or materials are hindering us. Brilliant.
This is not a workshop where we learn to paint like Anthony, this is a workshop where we analyze the basic elements of our individual processes.
Day 1 – Perfectly straight division between blocks. Gradient Blocks from the flat.
It’ all about control of the paint. This was super challenging, and a large part of my issue is that I started out with my lead white. Lead white is very transparent, so Anthony helped me troubleshoot my disgusting black/white gradient (using MY brushes and MY canvas), and switched over to titanium. This made execution much more reasonable.
What I learned: I’m used to having the previous layer support my new layer. Without that safety net, you have to keep more variables in mind. and keep the paint more in control (no medium, less quantity)
Day 2: Gradients on form as a result of light (working from life)
You can see how day 1 gradient blocks from the flat translates to how we experience light on form in 3 dimensions. One strip was a matte surface and one was a shiny surface. Those value jumps to the lights are a bit different!
This seemed like the perfect time to address the issue I was having at home with a still life pear I was working on. I couldn’t figure out the highlight transition/colors. On the right, you can see my childish attempt at it, while Anthony’s version on the left looks much more sophisticated.
What I learned: I can do more manipulation of the paint on the canvas to adjust variables rather than dumping in more paint to adjust. Overshooting and thinking ahead (which is something I do naturally) are parts of Anthony’s process as well, and I can take advantage of that more. Also, I don’t need to use as much paint as I think I do just because I’m on a white surface. Drier paint is easier to manipulate subtly on the canvas than oily paint. Also, a lot of my process overlaps with Anthony’s but in slightly different ways.
Day 3 – Alla Prima madness
3 hour lemon: No topography (meaning no physical build up of paint) – what I learned: I’m letting chroma get in the way of the visual effect. Needed to dim the value and chroma a bit to make it looks more convincing.
30 minute lemon, only vertical brush strokes – what I learned: this is a lot like my dead coloring layer but more opacity
40 minute item that is a secondary color (purple, orange or green) but you can only use 1 of each primary. I used White and Black, and alizarin crimson and cobalt turquoise – what I learned – I need to do more alla primas. Also, add cobalt turquoise to everything and it makes it better.
Day 4: Panel Feeling Party, Demos and Crits
Day 4 ended up being a hodgepodge of materials comparisons, sharing info, demos, and critiques.
What I learned: I’m interested in trying out an acrylic primed smooth surface to see if there is better grip than a smooth oil primed surface. Also, this is the face I make when I’m learning something hard.
Overall it was an incredible few days where I learned a ton, laughed harder than I have in a long time and finally was able to meet many of my art friends in person. I can not wait for next year!!
Anthony Waichulis
Your expertise, generosity, and eagerness made this event very special Julie. I can’t thank you enough for bringing all that you did. Your students are very fortunate to have you at the helm.
Deborah Kommalan
Absolutely stupendous write-up, Julie. You’ve said it best. Clear and concise to my muddled brain! You’re a 🍑! Thanks!
Natalie Featherston
Loved the write up! A wonderful recap to the workshop <3
John McCuin
Thanks for the write up! I couldn’t be there, but I love getting to experience some of it vicariously through your posts. It looks like it was AWESOME!
Christopher Herrera
Thank you for making your insight so clear and simple to understand 🙏🏼🤙🏼
John McCuin
Julie, thanks for the write up! I couldn’t be there, but I love getting to experience some of it vicariously through your posts. It looks like it was AWESOME!
Michele Clamp
Great write-up Julie. I wish there were more workshops like this. I found it interesting that you found it better to manipulate the existing paint on the canvas rather than putting more down. People often advise against that to avoid ‘licking’ the paint around.
Debra Keirce
You are so talented and funny Julie! Anthony is great and the workshop was fun, but having you and everyone else there made it so special!! Thanks for all you share!
Bonnie Evans
Thanks for this Great summary/ write up of our work shop, Julie! What a fabulous 4 days••It was so nice to meet you. Looking forward to next time, when you are all back at our studio! It seemed so quiet on Tuesday when I was back to reality and working on my ellipse chart! Until we meet again••• happy painting!!!
Jamie Lindholm
Such a great recap! So great getting to spend time with you and the rest of the zoom room, even if I could only be there for a short time as a ‘diagnostic squatter’. 😏😄
Suzanne Batchelor
Great review I’ll post it in this still Like oil painting network 😀
Mark
Thanks for your blog, nice to read. Do not stop.