The Subtle and the Radiant:
Exploring the Power of Neutral Colors
Instructed by Samantha Haring
January 13–March 3, 2019
Registration Deadline: January 11, 2019
[ REGISTER HERE ]
Neutrals. Grays. Tones. These words conjure imagery of wintery landscapes and darkened interiors, of stillness and quietude. But is this limiting? Is it possible for a gray to be loud and hot? How can you use neutrals to intensify and heighten more saturated colors? In this class, we will use de-saturated color as our subject. Through a variety of perceptual painted studies, we will explore the nuance, the subtlety, and the sensitivity of chromatic grays.
This class will cover the following topics:
- Color relativity
- Recognition of specific color within neutrals
- Mixing accurate colors from life
- Understanding the relationships between pigments and how they interact
- Controlling the hue, value, and saturation of neutrals within a composition
Tuition: $325 *
*(This fee includes FREE Wednesday Open Figure admission during the duration of the course.)
Recommended Pigments* (feel free to supplement any additional colors you like)
- Titanium white
- Cadmium yellow light
- Cadmium yellow medium
- Cadmium red or napthol red light
- Permanent alizarin crimson
- Ultramarine blue
- Cerulean blue
- Yellow ochre
- Raw umber
- Ivory Black
*As much as possible, try to avoid purchasing anything that says “hue”.
- 10-12 small surfaces for quick studies, 8x10”-11x15”
- 8-10 larger surfaces for longer paintings, around 16x20”-18x24”
- Surfaces may include paper, canvas board, stretched canvas, Masonite or birch plywood panels, Arches oil paper… your choice, so long as the surfaces are properly prepared and ready to be painted on before the start of each class
- Long-handle synthetic or bristle brushes in a range of sizes. I would recommend sizes 2, 4, 8, and 12 for variety. Brushes come in several shapes, including flat, bright, filbert, and round. A range of sizes of flats and rounds will be more than enough to begin.
- Palette (either palette paper, or a piece of glass, or a handheld wooden palette…)
- Painting knife
- 2 glass jars with lids for water or solvents
- Odorless turpenoid or other odorless mineral spirits if you choose to use oils.
This class is also open to drawers using pastels. Please contact the Drawing Center Coordinator, Adam Mysock at email@example.com for more information about this option.)
Level of Study: This class is suggested for individuals with some painting experience, as a basic knowledge of painting materials and techniques is expected. Some observational drawing experience will be helpful.
LOCATION: Unless otherwise specified, all courses are hosted at Manifest's Drawing Center Studios in Madisonville at 4905 Whetsel Avenue (second floor) (see map and direction links below). Manifest's studio facility provides two classrooms, a darkroom, and a processing room all totalling nearly 4000 square-feet. The
studios are outfitted with professional equipment, furniture, and study aids.
Map to Studio | Studio Calendar | Darkroom Calendar
Edward Timothy Hurley
About the instructor:
Samantha Haring is a Midwest painter from Des Plaines, Illinois. She makes quiet paintings that address the nature of loss and the inherent duality of absence and presence. Haring earned her MFA from Northern Illinois University and her BFA from the School of the Art Institute of Chicago. She has also studied in Italy at the International School of Drawing, Painting, and Sculpture; it was there that she fully developed her commitment to light, color, and observational painting. Haring was one of the 2015-2016 Artists-in-Residence at Manifest. She is currently a Resident Instructor at the Manifest Drawing Center; she also teaches drawing and design courses at University of Cincinnati's School of Design. Haring’s work is published in issues #119 and #123 of New American Paintings. Her work is also featured in Manifest's INPA 4, 5, and 7, as well as Manifest's INDA 11. She currently maintains a studio in Cincinnati, where she spends an inordinate amount of time staring at the color of dust.