The (Not So Still) Still Life (Online Course) Winter 2025 w/ Dean Fisher
February 4 to March 4 (Tuesdays), 10:30 AM to 1:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/KS7fcOmI-pY
Course Description
In this five session still life painting course we will examine various approaches to still life painting throughout history with the goal of expanding our perception of what a still life painting can be.
We will see how even the most mundane subject can be transformed into a mysterious and poetic image which suggests so much beyond an illustration of the subject.
Each class will begin with an image presentation and discussion of paintings which pertain to the focus of each class. I’ll then paint a live demonstration as a visual representation of the ideas being discussed.
The students will be given studio projects which they’ll work on from week to week applying the concepts which are being discussed throughout the course.
Course Outline
Week 1 -
A brief survey of the history of the genre of still life painting. We’ll focus on the importance of tone, compositional structure and tonal massing. I will then demonstrate these principles by painting a monochromatic still life.
Week 2 -
A brief image presentation further discussing composition, form and light. I will then go through the process of arranging my still life and explaining my thought process. I will then begin a full color small still life painting study. Questions answered from course participants about their painting projects and course content.
Week 3 -
A brief image presentation focusing on the importance of the large masses of the composition and how they do the “heavy lifting” in the compositional structure as well as conveying light, form and space. I will begin blocking in the larger, final painting based on my previous studies.
Week 4 -
A brief image presentation and discussion pertaining to compositional organization, optics, edges and approaches to applying paint. I will continue developing my painting and discuss my thought process and decision making.
Week 5 -
A brief image presentation and discussion showing more innovative still life paintings throughout history, discussing their many virtues.
An extensive question and answer session with the students about anything pertaining to their home painting projects from the course as well as the course content.
Additional fine tuning of my painting while discussing my entire thought process.
Course Materials
*Set of Oil or Alkyd paints or Soft Artists Pastels (not oil pastels)
Oil or Alkyd Paint Color List
Please have all of these colors as well as your favorite colors which you normally use.
Cadmium Yellow Light
Yellow Ochre
Cadmium Red Light
Alizarin Crimson
Burnt Sienna
Viridian Green
Chrome Oxide Green (optional) • Cobalt Blue (optional)
Ultramarine Blue
Titanium White
8x 10 canvas or panel and a 11" x 14" or 14" x 18" 16” x 20 canvas or panel
Paint Brushes (for oil Painting): #2, 4, 6, 8 Natural Bristle Filberts
#1 or #2 Round
2” Natural Bristle House Painting Brush
OR if you prefer
Pastels:
Set of 25 or more colors (Rembrandt brand or equivalent)
Paper:
Several Sheets Medium Gray Color (approx. 22”x28”) of Canson or Strathmore Pastel Paper Masonite or Wood Drawing Board at least 18” x 24”
Pad of newsprint or drawing paper 18” x 24” or similar size
Other Materials:
Medium and Soft Vine Charcoal (pack of each - three sticks to the pack, usually)
Kneaded Eraser
Masking Tape or Drawing Board Clips
Sharpener
Several Rags or Paper Towels
Disposable Paper Palette or Wooden Palette
Medium Sized Trowel Shaped Palette Knife
Pint of Acrylic Gesso
Sketchbook (approx. 14” x 18”)
HB or 2B Pencil
Can of Odorless Turpentine- Least toxic is Gamsol sold at most art stores Medium-sized Jar with a tight lid to hold turpentine for cleaning brushes
February 4 to March 4 (Tuesdays), 10:30 AM to 1:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/KS7fcOmI-pY
Course Description
In this five session still life painting course we will examine various approaches to still life painting throughout history with the goal of expanding our perception of what a still life painting can be.
We will see how even the most mundane subject can be transformed into a mysterious and poetic image which suggests so much beyond an illustration of the subject.
Each class will begin with an image presentation and discussion of paintings which pertain to the focus of each class. I’ll then paint a live demonstration as a visual representation of the ideas being discussed.
The students will be given studio projects which they’ll work on from week to week applying the concepts which are being discussed throughout the course.
Course Outline
Week 1 -
A brief survey of the history of the genre of still life painting. We’ll focus on the importance of tone, compositional structure and tonal massing. I will then demonstrate these principles by painting a monochromatic still life.
Week 2 -
A brief image presentation further discussing composition, form and light. I will then go through the process of arranging my still life and explaining my thought process. I will then begin a full color small still life painting study. Questions answered from course participants about their painting projects and course content.
Week 3 -
A brief image presentation focusing on the importance of the large masses of the composition and how they do the “heavy lifting” in the compositional structure as well as conveying light, form and space. I will begin blocking in the larger, final painting based on my previous studies.
Week 4 -
A brief image presentation and discussion pertaining to compositional organization, optics, edges and approaches to applying paint. I will continue developing my painting and discuss my thought process and decision making.
Week 5 -
A brief image presentation and discussion showing more innovative still life paintings throughout history, discussing their many virtues.
An extensive question and answer session with the students about anything pertaining to their home painting projects from the course as well as the course content.
Additional fine tuning of my painting while discussing my entire thought process.
Course Materials
*Set of Oil or Alkyd paints or Soft Artists Pastels (not oil pastels)
Oil or Alkyd Paint Color List
Please have all of these colors as well as your favorite colors which you normally use.
Cadmium Yellow Light
Yellow Ochre
Cadmium Red Light
Alizarin Crimson
Burnt Sienna
Viridian Green
Chrome Oxide Green (optional) • Cobalt Blue (optional)
Ultramarine Blue
Titanium White
8x 10 canvas or panel and a 11" x 14" or 14" x 18" 16” x 20 canvas or panel
Paint Brushes (for oil Painting): #2, 4, 6, 8 Natural Bristle Filberts
#1 or #2 Round
2” Natural Bristle House Painting Brush
OR if you prefer
Pastels:
Set of 25 or more colors (Rembrandt brand or equivalent)
Paper:
Several Sheets Medium Gray Color (approx. 22”x28”) of Canson or Strathmore Pastel Paper Masonite or Wood Drawing Board at least 18” x 24”
Pad of newsprint or drawing paper 18” x 24” or similar size
Other Materials:
Medium and Soft Vine Charcoal (pack of each - three sticks to the pack, usually)
Kneaded Eraser
Masking Tape or Drawing Board Clips
Sharpener
Several Rags or Paper Towels
Disposable Paper Palette or Wooden Palette
Medium Sized Trowel Shaped Palette Knife
Pint of Acrylic Gesso
Sketchbook (approx. 14” x 18”)
HB or 2B Pencil
Can of Odorless Turpentine- Least toxic is Gamsol sold at most art stores Medium-sized Jar with a tight lid to hold turpentine for cleaning brushes
February 4 to March 4 (Tuesdays), 10:30 AM to 1:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/KS7fcOmI-pY
Course Description
In this five session still life painting course we will examine various approaches to still life painting throughout history with the goal of expanding our perception of what a still life painting can be.
We will see how even the most mundane subject can be transformed into a mysterious and poetic image which suggests so much beyond an illustration of the subject.
Each class will begin with an image presentation and discussion of paintings which pertain to the focus of each class. I’ll then paint a live demonstration as a visual representation of the ideas being discussed.
The students will be given studio projects which they’ll work on from week to week applying the concepts which are being discussed throughout the course.
Course Outline
Week 1 -
A brief survey of the history of the genre of still life painting. We’ll focus on the importance of tone, compositional structure and tonal massing. I will then demonstrate these principles by painting a monochromatic still life.
Week 2 -
A brief image presentation further discussing composition, form and light. I will then go through the process of arranging my still life and explaining my thought process. I will then begin a full color small still life painting study. Questions answered from course participants about their painting projects and course content.
Week 3 -
A brief image presentation focusing on the importance of the large masses of the composition and how they do the “heavy lifting” in the compositional structure as well as conveying light, form and space. I will begin blocking in the larger, final painting based on my previous studies.
Week 4 -
A brief image presentation and discussion pertaining to compositional organization, optics, edges and approaches to applying paint. I will continue developing my painting and discuss my thought process and decision making.
Week 5 -
A brief image presentation and discussion showing more innovative still life paintings throughout history, discussing their many virtues.
An extensive question and answer session with the students about anything pertaining to their home painting projects from the course as well as the course content.
Additional fine tuning of my painting while discussing my entire thought process.
Course Materials
*Set of Oil or Alkyd paints or Soft Artists Pastels (not oil pastels)
Oil or Alkyd Paint Color List
Please have all of these colors as well as your favorite colors which you normally use.
Cadmium Yellow Light
Yellow Ochre
Cadmium Red Light
Alizarin Crimson
Burnt Sienna
Viridian Green
Chrome Oxide Green (optional) • Cobalt Blue (optional)
Ultramarine Blue
Titanium White
8x 10 canvas or panel and a 11" x 14" or 14" x 18" 16” x 20 canvas or panel
Paint Brushes (for oil Painting): #2, 4, 6, 8 Natural Bristle Filberts
#1 or #2 Round
2” Natural Bristle House Painting Brush
OR if you prefer
Pastels:
Set of 25 or more colors (Rembrandt brand or equivalent)
Paper:
Several Sheets Medium Gray Color (approx. 22”x28”) of Canson or Strathmore Pastel Paper Masonite or Wood Drawing Board at least 18” x 24”
Pad of newsprint or drawing paper 18” x 24” or similar size
Other Materials:
Medium and Soft Vine Charcoal (pack of each - three sticks to the pack, usually)
Kneaded Eraser
Masking Tape or Drawing Board Clips
Sharpener
Several Rags or Paper Towels
Disposable Paper Palette or Wooden Palette
Medium Sized Trowel Shaped Palette Knife
Pint of Acrylic Gesso
Sketchbook (approx. 14” x 18”)
HB or 2B Pencil
Can of Odorless Turpentine- Least toxic is Gamsol sold at most art stores Medium-sized Jar with a tight lid to hold turpentine for cleaning brushes