COLD WAX/OIL WORKSHOPS 828-545-2451 or email: firstname.lastname@example.org for more information.
Scheduled Classes for 2017
Jan 12/13 Thursday (one day 150.00) /Friday Two day workshop in wax and oil 250.00
April 4/5 Tuesday /Wed (Two day workshop 9:30-3:30 ) Cost: 250.00
Scheduled Classes for 2016
You can fill out the form below and I will send you more details about using oils and cold wax medium.
May (date to be determined …call me)
June 17 -18
(9:30 — 3:00) I am currently sharing space at Pink Dog with David Holt so it is not a large space.
July 6-7 Leslie Rowland / London District Studios is hosting this workshop at 5:00-9:00 an evening of fun and cold wax “process painting!” Call Leslie at
760-855-8663 and tell her you are interested in taking the Grace C Bomer oil and cold wa workshop! She will give you more info.
Private lessons: One on one instruction/critique — 175.00 per day
Above is a 12 x 12 inch piece done in my last workshop
oil and wax on panel 12 x 12 inches
Many of my classes are private and thus created on demand. Email me on the form below if you are interested or would like to work out a date. Necessary supplies listed below.
In my two day Cold Wax Intensive we produce at least two pieces using text and image on one surface and cold wax and oil and its many and various techniques on the other. Depending on size and how quickly you work you may be able to produce more paintings. Come prepared to make as much art as you can!
(Below I have listed some supplies, but please email me for a complete list.)
We will paint on gessoed panels (12’ x 12” or smaller or larger) made of luan, plywood or canvas. The smooth hard surface works best for cold wax. Birch cradled panels are available at most art supple stores. But if transporting them is a challenge just bring flat panels.
Other supplies: oil paints, cold wax medium, Galkyd medium which speeds dying, a palette knife (or two) for mixing paint and cold wax, oil sticks, powdered pigments, brayers and sponge rollers, string and other things to add texture. — cardboard, dead leaves and twigs, stencils, rags, wax paper, blue masking tape to protect sides of a cradled panel.
I will provide the use of dough scrapers, an indispensable tool to apply cold wax. You will want to own one. Buy a Wilton dough scraper one on-line.
Workshop cold wax demo pieces that are 12 x 12 inches.
Cold wax painter, Rebecca Crowell’s, blog posts are so helpful. Here is an excerpt from a 2011 post
“I’m starting to see that while the technical stuff I teach is plenty challenging, it may be the emotional and mental demands of the class that are the most powerful–at least for artists unaccustomed to process-driven, intuitively developed painting.
For example, I often hear in class how hard it is to submit to the process of painting, to abandon preconceived ideas in the beginning, and to allow each step in the painting to reveal itself. For many people, this is a daring leap into trusting intuition, and requires a flexibility that feels out of character. The saving factor is that cold wax is a very “forgiving” medium, and changes can be made quickly and as thoroughly as the artist desires. This fact seems to be the biggest factor in allowing people to loosen up and try things out, and the rewards for being flexible and intuitive become very apparent. In this type of painting there really are no mistakes–nothing ugly, muddy or otherwise disastrous that cannot be corrected.
A related challenge is to push past initial stages of the painting, to be ruthless in non-attachment to precious areas of paint, until the work acquires enough color interactions and textural layers to be rich and exciting. Trying to build a painting around one area that works early on is a sure recipe for a stiff, overly controlled end result. In my opinion this speaks of a lack of confidence, because efforts to preserve those “happy accidents” are due to the artist’s belief that once this special bit is buried, nothing equally lovely or better will happen later in the process. In fact, although exciting areas of paint may appear early on in the thinner layers, the most magic happens when there is plenty of paint, lots of layers—when there is deep potential built into in the work. (Here I can see parallels here to relationships, to meaningful work, to anything in life that is rich and non-superficial.)
With practice, many seemingly random or accidental effects can to some extent be predicted and pursued with intention. But knowing this requires practice, a lot of patience, and mental discipline. Taking the first steps in a workshop can be a revelation, but true understanding of this process happens over time, and patience with oneself in the learning process is part of the big picture.
The issue of wanting finished paintings by the end of class also comes up often—again, this is a challenge to patience, and the need to stay with a painting until it is resolved in its own time. I don’t encourage the idea of finishing paintings in class, because this shifts the focus away from experimentation, and fully exploiting the possibilities of the medium (some of which will become evident only when the painting dries more thoroughly than it will in a 3-day class.) But I acknowledge that for some artists, being able to take a completed painting home is important, and I stand by.
Here’s what tends to happen, though–even after spending considerable time trying to come up with a finished piece, the artist will often abandon the effort– perhaps in frustration. The point of letting go of the preconceived goal, though, can be a breakthrough. It allows the artist to return to trusting the process, letting the painting unfold. Sometimes a painting does reach a finished state in class, but when this happens, it seems to come out of grace rather than striving…another lesson that relates as much to the bigger picture of life outside the studio as it does to painting.” http://rebeccacrowellart.blogspot.com/2011_08_01_archive.html