Gage Winter 2013 Catalog

Winter 2013

missionGuided by the belief that artists are made,

not born, Gage strives to educate, enrich and engage artists and the community in the visual arts. Gage offers instruction in the principles

of drawing, painting and sculpting and is dedicated to helping students of all ages

and skill levels realize themselves as artists in contemporary society.

benefactorsJoyce Allen, Kenneth S. Rosen,

Ida S. Cole, Anne Steele

founders Pamela Belyea Executive Director Gary Faigin Artistic Director

board of trustees Julie Tall President Erin Moyer Vice President Brent Reys Treasurer Ted Kutscher Secretary

Greg Anderson, Gary Bezowsky, Ann Bradford, David Dwyer, Greg Eastman,

Anne Steele, Richard V. West

Community advisorsDiane Butler, Lane Powell Spears Lubersky, WA

Robert K. Dent, Social Venture Partners, WA Ira Goldberg, Art Students League, NY

David Hill, Sonata Capital, WAZhi Lin, University of Washington, WAChris Madison, Sierra Investments, CA

Alvin Martin, Bader Martin, WATrina Wherry, RBC Dain Rauscher, WA

artistic advisorsDomenic Cretara, artist, CA

Samuel H. Davidson, Davidson Galleries, WAMartha Mayer Erlebacher, artist, PAAntonio Lopéz García, artist, Spain

Gregory Hedberg, Hirschl & Adler Gallery, NYNorman Lundin, artist, WA

John Pence, John Pence Gallery, CADon Porter, Pietra Serena, WA

CoVEr artiSt: mELiSSa wEinmanGage Teaching Artist

Melissa Weinman is a graduate of Bowdoin College in Brunswick, Maine, and also holds an MFA in two-dimensional media from USC. Her work has been exhibited in numerous solo and

group exhibitions across the country, and can be found in the permanent collections of the Tacoma Art Museum; the Arkansas Art Center; Seattle University Law School; and the Virginia Center for the Creative Arts.

Nov 16: Artist Lecture with Melissa Weinman – freeWorking Artist: Mother of Two 7:00pm/Geo Studio

Plus, join Melissa for Portrait Painting in Oil, a 5-day workshop beginning January 7. See page 10.

Cover: Journey: Carried, detail, 2011, 36" x 36", oil on canvas

winter 2013

Gratis @ GaGe

aDult proGrams

9 Weekend Workshops

10-11 Weeklong Workshops

13 Open Studios

14 Lecture Series

15-17 Drawing Classes

18-21 Painting Classes

22 Sculpting Classes

23 Ateliers

1 A Reality of My Own Creation

2-3 Drawing Jam® / Gala

4 Scholarships @ Gage

12 Curriculum & Foundation Programs

28-29 Teaching Artists

30-31 Program Schedule

32-33 Student Information

24-25 Youth Classes

26 Youth Arts

26-27 Teen Art Studios

about GaGe

youth proGrams

5 Modernism in Manhattan — March 2013

5 Aristides in Florence — June & July 2013

5 The French Connection — October 2013

GaGe art travel

baCk CoVEr artiSt: JanE whitEGage Teen Artist, age 16

“My art teacher at Shorecrest High School was the person who urged me to apply to the Portfolio Intensive program at Gage. If it wasn’t for her I would have never had this amaz-

ing experience. The teachers were helpful and encouraging, never ones to harshly criticize, only giving constructive tips when needed and letting me fi gure out the best way to fi x my own mishaps. I’m extremely glad I got to have this experience and I encourage other young artists to apply to this program.”

Read more about the Youth Programs at Gage on pages 24-27.

6 Exhibitions

7 Artist Lectures

8 Professional Development Events

For over 20 years, Gage Academy of Art, a 501(c)(3) not-for-profi t institution, has been serving the

community with inspired programs and events for artists of all ages and abilities. To give online visit GageAcademy.org/support, or call our Development offi ce at 206.323.4243 x12.

Gage® and Drawing Jam® are registered trademarks of Gage Academy of Art. No part of this catalog

may be reprinted without permission.

©2013 Gage Academy of Art. All Rights Reserved.

Catalog printed by ColorGraphics

GIVE GIVE GIVE GIVE GIVE

Cover artist melissa W

einman

winter 2013 Cover artist

a reality of my own CreationGaGE tEaChinG artiSt, mELiSSa wEinman

i employ narrative realism for the same reason a novelist does: to seduce my audience

into experiencing a reality of my own creation. I use the term, “realism” broadly, and

not in the 19th century sense of painting only things one can observe — if I want to

make visible things that are deeply felt but unseen, I can do it. What creative freedom!

Many modernist painters view realism as limiting, but I view it as a powerful tool with an

infi nitely expanding visual language — the language of the subconscious mind.

As we learn more about creative perception and the right brain, we understand that our

internal visual vocabulary is layered with meaning. For example, if I dream about a horse,

I’m not just dreaming about a powerful four-legged animal, but also a metaphor for a guide,

and a symbol of instinctual knowledge. My childhood experiences of training and showing

horses adds many more subtle associations, with the appearance of horses in my dreams

and in my paintings. The skilled use of multiple metaphors rewards the inquisitive viewer

with a narrative so intricately woven together that the metaphors become keys to decod-

ing the message.

Like metaphor, visual allusion allows for the complex layering of meaning if one is familiar

with the reference. I quoted Vermeer’s Woman in Blue Reading a Letter in my Artist Waking

While Dreaming Motherhood, because I wanted to add the discomfort of a pregnant woman,

who appears to be locked into a position of waiting, to the painting. Visual allusions also tell

us something about the artist’s aesthetic infl uences, and may be subtle, such as one artist

quoting another only by composition or subject instead of reproduction. The beauty of

allusions is that they bring the entire meaning of the original narrative to the work of art. In

a theater production, for example, one scripted line from Shakespeare’s As You Like It, “All

the world’s a stage,” suggests a play within a play within a play, as well as bringing a sense

of predestination to the scene. Celebrate the narrative of your painting, and use metaphor

and allusion to give it the wonderful complexity of a novel or a play.

Melissa Weinman

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Quoting from a master-work, as demonstrated in these two paintings, is a technique Melissa employs to build familiar references and complex meanings in her paintings.

in memoriamsusan summers torrance | 1948–2012Susan, a talented painter, began her studies at Gage in 2003, and went on to serve on the Board of Trustees, where she made indelible contributions to Gage as an art school, as well as the entire Seattle visual arts community. Her belief in the trans-formative power of the arts was an inspiration to us all. With the passing of Susan, we have indeed lost a beloved and loyal community member, whose life was artful in every respect.

Susan Torrance

Drawing jam® 2012sat, December 1, 9:00am-9:00pm

Sketch, doodle, squiggle or jot — Drawing Jam 2012 returns in December! Make plans now to bring the whole family to the 13th annual community celebration of music, art, cuisine and creativity, happening Saturday, December 1 from 9:00am to 9:00pm at the Gage building on Capitol Hill.

A wide variety of drawing materials will be provided at no cost, and each studio will be fi lled with easels waiting for artists. Draw-ing Jam features a cast of over 50 models throughout the building — including dancers, musicians and costumed performers serving as gesture models, and nude fi gure models available for traditional sessions.

This family-friendly event provides both kids and teens with their own dedicated spaces to draw, paint, and create, as well as the op-portunity to participate in activities through-out the building. Plus, local artists and Gage instructors demonstrate drawing, painting and sculpting techniques throughout the day; and studios will be available for use, including a print studio sponsored by Artist & Crafts-man Supply.

Spend an hour — or the entire day — but don’t miss the opportunity to experience one of the most unique art events in the North-west! Tickets are just $10 for adults – and kids and teens are admitted FREE! Plus, special family pricing options include additional benefi ts like raffl e tickets, food vouchers, and more. Visit GageAcademy.org/drawingjam for more information, and we’ll see you there!

Drawing jam photo GalleryVisit us on Facebook at Facebook.com/GageAcad-emy or scan this QR code to view pictures from the 2011 Drawing Jam.

prESEntinG SponSorS 2011 EVEnt SponSorS

Seattle Office of

®

2 Register online at GageAcademy.org beginning Monday, November 12, 2012 or call 206.323.GAGE

®

2012

13th Annual

For information on sponsoring the 2012 drawing Jam, contact [email protected].

You’re invited to attend the fi rst Open House of 2013 at Gage! Join us for demonstrations from teaching artists, hear from current and former students, learn more about work-shops and classes, and tour the studios and facilities. Plus, receive a 10% discount off tuition for any class or workshop you register for during Open House!

For more information, or to reserve your spot, please RSVP to [email protected] before January 4th — and we’ll see you there!

OpenHousesaturday, january 5, 2013 11:00am-3:00pm

OpenHouse

ART AUCTION & BENEFIT

SAVE THE DATE!FRIDAY, MARCH 1, 2013

Gage Collector’s GalaFRIDAY, MARCH 1, 2013ST. MARK’S CATHEDRAL SANCTUARY DOORS OPEN AT 6PM 1245 TENTH AVENUE EAST, SEATTLE WA

TABLE SPONSOR$1,750 per table of 10

• Includes all CONNOISSEUR benefi ts for table host, plus:

• Gala VIP table placement (fi rst-come basis)• VIP invitation to artist’s studio visit

CORPORATE SPONSOR$2,500 per table of 10

• Includes all TABLE SPONSOR benefi ts for table host, plus:• Logo recognition in all Gala materials and on Gage website• Year-long logo recognition in Gage quarterly catalogs• Verbal recognition in Gala remarks• Increased donation to support education programs at Gage

TICKETS

PATRON $175 per person

• Complimentary beer, wine and signature cocktails

• Four-course dinner • Live entertainment and

complimentary parking

CONNOISSEUR COUPLE $500 per couple

• Includes all PATRON benefi ts, plus: • Reserved parking • Gala VIP seating • Recognition in Gala materials • VIP invitation to special artist

luncheon • Local delivery of auction

purchases

J oin us for our annual Gage Collector’s Gala, featuring over 100 original works by local, emerging talent, as well as regionally and

nationally celebrated artists. Enjoy a sumptuous four-course feast, live entertainment and rousing live and silent auctions showcasing artwork from Gage instructors and students. All proceeds benefi t educational programs for artists of all ages at Gage.

Drink, dine and be entertained under the 72-foot sanctuary ceiling of St. Mark’s Cathedral, and show your love for an extraordinary arts organization.

Invitations to follow — stay tuned to GageAcademy.org for more details.

All gala guests are invited to the

Artists ’ Reception & Art Preview thursday, february 28, 2013 6–9pm st. mark’s Cathedral

GAGEACADEMY.ORG

Limited space available,secure your reservation early!

Contact Kathleen Moore at 206.323.4243 x16 or [email protected]

Mais oui!secure your reservation early!

BON VOYAGE!Win tickets for two on,THE FRENCH CONNECTION: Provence to Paris Art Tour(see page 5).

Includes airfare! Value: $12,000

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Scholarships @ Gage

Gage is proud to award need- and merit-based tuition scholarships for the 2012-2013 academic year to deserving youth and adult students. Many thanks go to the 2012 Scholarship Jury, comprised of Gage guest instructors Costa vavagiakis from the

Art Students League of New York, and jordan sokol and eran Webber from the Florence Academy of Art.

If you would like to support Gage artists with a named scholarship, or make a donation to the General Scholarship Fund, please contact Alison Dawson, Development Director, at [email protected] or call 206.323.4243 x12.

Mandy Hallenius


2012–13 sCholarships

buChanan youth sCholar

Caleb arthurFunded by Evan Hornig, in memory of his wife, Terri Buchanan

Evan generously chose to underwrite a talented teen artist to attend the Gage pre-college Portfolio Intensive, Summer 2012.

Cloutier youth sCholarsFunded by Dennis Cloutier

Dennis believes in the power of creativity to open doors, and he chose to underwrite seven deserving youth artists attending the 2013 Gage Youth Summer Workshops.

Gamblin paint sCholar

lowell poissonFunded by Gamblin Paint

Gamblin Paint Scholarships are awarded in alternating years to one senior level, full-time atelier student.

kollar sCholar

martijn Caspar swartFunded by Allan and Mary Kollar

Long-standing Seattle art collectors & philanthropists with a background in art education, the Kollars chose to support a talented atelier student to pursue full-time studies at Gage.

manZo sCholar

mandy halleniusFunded by Estate of Susan Manzo

Chris Loesch, chose to donate artwork from his sister’s estate to the Gage 2012 Gala to fund this generous scholarship for a Gage atelier student.

Winokur sCholar

scott mcCallFunded by Susan Winokur

As a long-time art patron and collector, Susan chose to underwrite the 2012-13 studies of a classically-trained, full-time atelier student at Gage.

WriGht sCholars

stephanie k. johnson, lowell poisson, Chris sawyerFunded by Stanley R. & Robert E. Wright Foundation For The Arts

The late Robert Wright of Arizona chose Gage as an institution worthy of his al-truistic support, which his foundation has renewed continuously since 2001.

Scott McCall

Caleb Arthur Stephanie K. Johnson

Lowell Poisson

aristides in florence: Drawing Workshop & Art History TourDrawing Instructor: Juliette Aristides, Atelier Instructor, Gage Art History Instructor: Carol Hendricks, Art Historian & Adult Programs Manager at GageThursday, June 27 to Saturday, July 13, 2013 (16 nights)$3,600 double occupancy (add $700 for single occupancy)10% program/tour discount offered to all current and graduate Gage atelier students

Join Juliette Aristides and Carol Hendricks for this unparalleled opportunity to study the art and architecture of the Renaissance while refi ning your drawing skills. During this two-week Flor-ence intensive, Juliette focuses on classical drawing techniques for depicting the magnifi cent sculptures and buildings of Florence. Concurrently, Carol, your Italian art history expert, intro-duces you to some of Europe’s greatest masterpieces installed in the city’s beautiful churches and museums. For more information regarding this studio and tour program, your Florence accommoda-

tions and more, please go to GageAcademy.org/tours. Not included: meals not noted, airfare and airport transfers.

atr1302 Reserve your place with a $500 per person non-refundable deposit online!

New York City

Florence

modernism in manhattan: Painting Workshop & Museum TouringPainting Instructor: Frank O’Cain, Art Student’s League Instructor Gallery & Museum Guide: Charles Emerson, Gage Teaching ArtistSunday, March 24 to Saturday, March 30, 2013$1,275 / Painting Workshop & Art Tour $850 / non-painter (tour program only)

For one inspiring week, spend your mornings painting at New York’s Art Students League, and your afternoons discovering the city’s excellent galleries and museums. Frank O’Cain presents a morning abstract painting program that teaches the basic principles of pictorial structure, and enables you to push your work toward your own abstract expression. Your afternoons are reserved for touring New York’s most important museums and galleries with Modernist painter, Charles Em-erson, including the new Kandinsky exhibit at the Guggenheim, Secessionist masterworks at the Neue Museum, and up the Hudson to the remarkable new DIA-Beacon museum. Your tour includes a

Sunday cocktail party in an art collector’s home and a Friday farewell dinner; ASL painting workshop (painters

only); all museum admissions, local and intercity travel. Not included: meals not noted; airfare and accommo-

dations. For a list of hotels, from inexpensive to luxury, check the Gage website at GageAcademy.org/tours.


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Register online at GageAcademy.org beginning Monday, November 12, 2012 or call 206.323.GAGE 5

Gage art travel

Gage Art Travel tours bring together small groups of artists and art enthusiasts for intensive explorations guided by informed and passionate experts. Please book early; tours are limited to 18 participants and tend to sell out quickly.

Learn more at GageAcademy.org/tours.

Gage art travel

the french Connection: From Provence to Paris Art TourTour Guide: Gary Faigin Friday, October 18 to Saturday, October 26, 2013 (8 nights)

$4,800 double occupancy (add $1,400 for single occupancy)

Follow in the footsteps of Cézanne, Matisse, and Van Gogh, as noted artist and art historian Gary Faigin leads an inspiring journey into the lives and works of the great French masters. Your tour begins in Nice, where charming nearby museums feature iconic works by Matisse, Chagall and Picasso. Heading west to Aix-en-Provence, we visit the studio of Cézanne; and then pick up the trail of van Gogh as we continue west to St. Remy de-Provence and Arles. Following a high-speed Eurorail journey north to Paris, your voyage concludes with two days in the City of Light, including guided visits to the Musée D’Orsay, the Modern Art Museum, and the Louvre. The tour includes three

nights in Nice, two nights in Arles, and two nights in Paris in centrally-located 4-star hotels; plus daily break-fasts, two group-dinners and one group-lunch, intercity travel and museum admission. Please note: additional

meals not mentioned here, airfare and airport transfers are not included in the price of the tour.


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Gratis @ Gage

ExhibitionsGage is proud to present an eclectic array of student, instructor, local and national artist works in three gallery spaces throughout the building. Special events, receptions, and artist lectures complement the exhibitions, and provide an opportunity to engage the community at large with the issues and imagery of contemporary art. All galleries are open 10:00am to 6:00pm daily. Visit GageAcademy.org/events for more.

rosen GalleryFruitionNovember 16 – January 6Opening Reception:Friday, November 16, 6:00pm-8:00pm

This annual alumni exhibition features artists who have learned foundational skills at Gage and are seeing the fruits of their labors — work-ing as emerging artists developing their own creative concepts and techniques outside the classroom.

Lay oF thE LandJanuary 18 – February 15Artists’ Reception: Friday, January 18, 6:00pm-8:00pm

A landscape painter’s subject can be almost anything, but the choice is never arbitrary. Using lessons in perspective, light and shadow, color and seeing the character of natural and built forms, Gage students showcase their best landscape work.

7th annuaL SpittinG imaGE SELF-portrait CompEtitionFebruary 22 – March 29Artists’ Reception and Awards Ceremony: Friday, February 22, 6:00pm-8:00pm

In its seventh year, our annual self-portrait competition has always shown off students’ best portrait work in competition for great prizes — and this year it just got even better — with a $1000 Gage Tuition Award for first place! Juried by ceramic artist Patti Warashina, this is one show not to be missed!

entry GalleryJEthaniEL pEtErka: nEw workNovember 16 – January 6Opening Reception:Friday, November 16, 6:00pm-8:00pm

Painter, sculptor and tattoo artist Jethaniel Peterka exhibits new works reminiscent of 19th- century cabinets of curiosity. He brings tradi-tional subjects of natural history and portraiture into the present by injecting his exquisite oil paintings with a dose of dark narrative.

urban GraphitE: imaGES oF arChitECturE and induStry January 11 – February 15Artists’ Reception: Friday, January 18, 6:00pm-8:00pm

Steve Costie’s recent work uses hard horizon lines that play against indistinct, evanescent im-ages that often just hint at objects we recognize, or think we recognize. This dramatic juxtaposi-tion is meant to convey things that may not be comfortable; where there is something unknown pending, giving the viewer a hint of danger.

thE ConStant imaGEFebruary 22 – March 29Artists’ Reception: Friday, February 22, 6:00pm-8:00pm

Fiona McGuigan’s work explores the process of memorization, recollecting, layering, cutting, and the reassembling of one image into many. By asking questions around how we access visual memory, her ink drawings and collages refer-ence one image, and use a restrictive process to create hundreds of drawings of the same image by exploring access to memory. As McGuigan’s understanding of the image shifts, she explores new mediums and dimensions, but still adheres to the process, its limitations and the recogniz-able original image.

Fiona McGuigan, detail D. Lisa West

steele Gallery LiFE StoriESNovember 16 – January 6Opening Reception:Friday, November 16, 6:00pm-8:00pm

Melissa Weinman uses a new series of paintings in the format of diptychs and triptychs to invite uncommon associations between common things, asking the viewer to solve a visual puzzle with the title as a clue. An homage to family, memory and story, and at once linear and exploratory, Weinman unravels traditional still life and landscape compo-sitions through poetic associations of objects and place-based narratives, providing a story that must first be unlocked to be told.

This exhibition is presented in conjunction with Melissa Weinman’s lecture, Working Artist: Mother of Two. See facing page.

watErCoLor: tom hoffmann’s watercolor book releaseJanuary 11 – February 15Artists’ Reception: Friday, January 18, 6:00pm-8:00pm

An exhibition of watercolor paintings by Tom Hoffmann, and several of the artists who contrib-uted to his new book, Watercolor Painting: A Com-prehensive Approach to Mastering the Medium. This exhibition delves into the essential and far-reach-ing concepts of this medium, and includes some of the artists from around the world, featured in Hoffmann’s book who are dedicated to the art of contemporary watercolor painting.

This exhibition is presented in conjunction with Tom Hoffmann’s lecture, Finding a Community: Watercolor and the Web. See facing page.

tom ShErwood: GEnErationSFebruary 22 – March 29Artists’ Reception: Friday, February 22, 6:00pm-8:00pm Guest Curator: John Sisko

Tom Sherwood’s exquisite egg tempera and gold paintings, drawings, prints, and sculpture reveal powerful, expressive moments which have philosophical, thematic, geometric or mythological complexity. Sherwood has lived and worked in Bellingham as an artist, teacher and scholar for over 40 years. He is a respected, central figure in that regional art community, but regrettably, his work has had very little public exposure in commercial galleries. This is Sherwood’s first substantial solo show, and the largest public exhibition of his paintings.

This exhibition is presented in conjunction with Tom Sherwood’s lecture, To Make a Line. See facing page.

Call for self portraits! Gage students & alumni!Submit one self portrait to Spitting Image, any size or medium. Must be ready to hang.Visit GageAcademy.org/call for turn-in dates and full details.

Juror: Patti Warashina


ThoughTFulNeSSSPoNTaNeiTy

artist LecturesEach quarter, Gage hosts thought-provoking lectures with working professional artists and art histo-rians. The public is invited to attend these events free of charge.

Working artist: mother of twoMelissa WeinmanFriday, November 16 7:00pm Geo Studio, 3rd Floor free

Still life, landscape, fi gure and the narrative of a growing family. Exhibiting artist and Gage instructor Melissa Weinman talks about her return to a full time studio practice after taking time to raise her two children and how this change to her life has affected her work. She will also discuss artists and ideas that infl uence her fi gurative narrative paintings and how she defi nes her artistic vision through incorporating all three genres into her studio practice.

Weinman is a graduate of the University of Southern California, Los Angeles, where she earned her MFA. She has had solo exhibitions at the Frye Art Museum (Seattle), Arnot Art Museum (Elmira), Tatistcheff Gallery (NYC) and Tortue Gallery (Santa Monica). Her work can be found in the permanent collections of many local and national arts institutions.

Melissa Weinman’s solo show and lecture are presented in conjunction with Elles: Women Artists from the Centre Pompidou, Paris, on view at Seattle Art Museum

October 11, 2012 through January 13, 2013. Weinman will teach a painting workshop this January (see page 10) and a class this fall (see page 17).

finding a Community: Watercolor and the Web Tom hoffmannFriday, January 18 7:00pm Geo Studio, 3rd fl oor free

The beauty of a watercolor painting lies in its diaphanous layers, delicate strokes, and luminous washes. However, the very features that defi ne the beauty of the medium can make it diffi cult to master. Hoffmann’s new book, Watercolor Painting, is a complete guide to understanding the relationships between color, value, wetness, and composition unravels the mysteries of watercolor to help your practice evolve. The fi nished book includes work from a dozen different countries. As it turns out, there are terrifi c painters all over the world who are happy to give most of the control back to the paint. Who knows where this will lead?

Tom Hoffmann is a practicing artist and Gage Teaching Artist who has been dedicated to the watercolor me-dium for more than thirty years. He received his BA from Amherst College and an MA in Art Education from the University of London. His paintings have been exhibited at the Seattle Art Museum, the Frye Museum, Tacoma Art Museum, the Copley Society of Boston, and the Park Avenue Armory in New York City.

Gr

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Tom Hoffmann


Melissa Weinman, detail

to make a lineTom SherwoodThursday, February 21 12:30pm Geo Studio, 3rd fl oor free Part 1 of 2Friday, February 22 7:00pm Geo Studio, 3rd fl oor free Part 2 of 2

“Two copiously illustrated lecture sessions on the Da Vinci ‘directive’ — why it works and why almost all of us resist it: apologizing various strategies for meeting this directive and, after all, whether it matters.” — Tom Sherwood

A native of Kansas City, MO, artist Tom Sherwood has devoted himself to creating paintings in egg-tempera on gold leafed panels, making prints and drawings, and lending his critical and technical expertise to his colleagues. Sherwood holds a BA in English Literature from William Jewell College, and a MA in Theological Literary Criticism from the University of Chicago. He’s taught at Western Washington University, the University of the Pacifi c, Deep Springs College, and the Southwest China Teacher’s University, Sichuan Province; and was artist-in-residence at Bensalem College of Fordham University. In 1985, his bronze sculpture, The Assistants, took the Barrett-Colea Foundry prize at the National Sculpture Society in New York City.

Tom Sherwood

tWo-partleCture

professional development EventsEmerging and established local, regional, and national artists present lectures, workshops, and seminars to enrich the discussion of issues facing and affecting art and artists in the community. open to the public. free

Gratis @ Gage

arttalkSecond Thursdays 12:30pm-1:30pm geo Studio, 3rd floor freeGage Artistic Director Gary Faigin interviews artists about their intentions, process and materials.

artist’s tool kitFourth Thursdays 12:30pm-1:30pm geo Studio, 3rd floor freeProfessionals present lively lunchtime conversations about the business of art.

Feb 14 Victoria adams

Vashon Island painter Victoria Adams is known for her panoramic, imaginary landscape paintings in which an elaborate, cloud-dotted sky plays as much a role as the deep, pastoral setting. Her work creates a convincing alternate reality, creating places which although non-existent, have a powerful and emotionally resonant pres-ence. Victoria discusses how she develops her compositions, and the way her work has evolved over the years as she takes on new challenges and directions.

Mar 14 Bill Finger

Seattle photographer Bill Finger moved from building life-sized movie sets in Hollywood to building miniature sets in his studio. After weeks of preparation, these elaborate creations, complete with furniture, landscape, and even figures, are the subject of a single photograph, after which they are destroyed. Bill discusses the creation of his oddly realistic tableaus which purposely tease the viewer with clues that not everything is as it seems. Painters have much to learn about the way Bill conceives and brings to life his tabletop worlds.

Jan 24 hidden hazards in the Studio David Waddell & Donna Galstad, Art Chemical Hazards Project

An entertaining and insightful workshop designed for artists and art educators to help protect themselves and their environment from toxic, corrosive and flammable chemicals, while still producing vibrant art. Dave Waddell and his colleague Donna Galstad will focus on hazards associated with oil, acrylic and watercolor paint-ing, as well as encaustic, pastel and ceramics. All artists are welcome.

Dave Waddell is an Environmental Investigator and Project Manager with King County’s Hazardous Waste Management Program. He has worked in the hazardous materials management field since 1985, and is the current President of the North American Hazardous Materials Management Association.

Feb 28 gallery Relationships Kirsten Anderson, Roq La Rue Gallery

Kirsten Anderson is the founder of Seattle’s Roq La Rue Gallery. She will discuss the resurgence of figurative work in the contemporary art world, and share her perspective on the artist-gallery relationship: including how to get noticed by a gallery, mutual expectations, and what it takes to ensure a long-lasting and successful partnership.

Kirsten Anderson opened Roq la Rue Gallery in 1998. In addition, she is the editor copublisher of “Pop Surrealism: The Rise of Underground Art.” And the “Editor At Large” at Hi Fructose Art magazine where she writes about art and artists related to the Pop Surrealism/Lowbrow scene.

Roq La Rue Gallery Rick Araluce

Bill Finger, detail

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Mar 21 artist’s grants & opportunities Rick Araluce, artist

Rick Araluce is a local sculptor who uses multidisciplinary approaches to sculpture and installation. He will discuss the various steps and guidelines artists must know to prepare, assemble, and submit a strong application to grants, fellowships, and public art opportunities, including the basic “boilerplate” items found universally in submission criteria.

Rick Araluce’s impossibly small worlds lure the viewer to a mysterious place where reason is mocked and the subconscious has free reign. A set builder for the Seattle Opera by day, Araluce is the recipient of a 2009 Pollock-Krasner Award, and the 2008 Ester Gottlieb Award.


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Weekend workshops offer the opportunity to explore new media and subject matter, or develop your artistry in an intensive environment of creativity and learning.

weekend workshops

Terry Furchgott, detail Patrick Lo Cicero, detail Anne Lewis


FiGurE in intErior paintinG with aCryLiCSTerry FurchgottFri-Sun 1/4-1/6 9:30am-4:30pm [3 days]

Work directly from the clothed model in the context of several carefully conceived inte-rior environments completing multiple alla prima sketches and one fi nished work. Start-ing with in depth study of the key parts of a fi gure in interior painting explore different options of bringing them together to create a stronger and more dynamic image, and to better express your own original vision. Previ-ous experience with acrylics and fi gure painting required.WW1301 int/aDv levels $325

thE paintEd portrait SkEtChMichael laneFri-Sun 1/4-1/6 9:30am-4:30pm [3 days]

Create painted portrait sketches and stud-ies that capture the essential information of your subject in a sketch format. These sketches are created for their own sake or for reference when working on a larger painting and your sitter is no longer available. Quickly analyzing the subject in terms of planes, tone, temperature and color is covered repeatedly as you work from rapid block-ins to longer studies.WW1302 all levels $325

LEarninG to SkEtCh, SCuLpt & SEEBill evansSat-Sun 1/5-1/6 9:30am-4:30pm [2 days]

Sketch from a model and selected photo-graphs; to create a piece of sculpture from terracotta. Better translate your artistic ideas by working directly from your own interpre-tation of the subject, putting your thoughts into what you create, with an emphasis on sculpting an individual and self-expressive work of art. WW1303 all levels $225

miXEd mEdia paintinGhamid ZavareeiSat-Sun 1/12-1/13 9:30am-4:30pm [2 days]

Experiment with application and inclusion of mastics, wire mesh, acrylic gels, wood, metal, adhesives and more as you explore new tools and techniques such as drip painting and gestural painting in your work. $25 partial materials fee payable to instructor. WW1304 all levels $195

portrait anatomyMichael laneSat-Sun 1/12-1/13 9:30am-4:30pm [2 days]

Learn to draw the planes of the head and how they relate to the anatomy of the face. Proportions, plane changes and the features are covered as you learn to set up and con-struct a portrait drawing and render planar information to describe form. WW1305 all levels $225

pinEConES in watErCoLorKathleen McKeehenSat-Sun 2/9-2/10 9:30am-4:30pm [2 days]

Explore classic botanical watercolor tech-niques of small graded washes and dry brush. Beginners may practice on simpler cones, while more the more experienced may tackle complex specimens. Some cones supplied, but feel free to bring specimens that interest you. WW1306 all levels $195

CraSh CourSE in CompoSitionanne lewisSat 2/16 9:30am-4:30pm [1 day]

Believing that experience nourishes intuition, this crash course is a “lab” designed to exercise and build compositional skills. The immediacy of collage lends itself well to fast and informative projects, however, you may work in any medium of your choosing.WW1307 all levels $95

paintinG thE produCE SECtion in watErCoLorKathleen McKeehen Sat-Sun 3/3-3/4 9:30am-4:30pm [2 days]

An overview and practice for botanical painting, including measurement, draw-ing, using fl at and graded washes, applying dry-brush technique, gaining understanding of color mixing processes and more. Work with simple subjects to gain confi dence and then move on to larger, more complex botanical subjects. Costs of materials can be minimized by purchasing small amounts of necessary paints, paper, etc. from instructor. WW1308 all levels $195

miXEd mEdia imaGE LayErinGPatrick lo CiceroSat-Sun 3/16-3/17 9:30am-4:30pm [2 days]

Learn the processes and skills needed to make the surfaces of your paintings complex, nuanced and rich with meaning. Through the process of mixed media, found object and collage, explore various background layering techniques. Learn how to integrate dissonant materials in a composition to create a successful fi nished work of art. Historical and contemporary examples inspire you to fi nd your own voice and lead to a unique and personal iconography.WW1309 all levels $195

thE arChitECturE oF CoLLaGEanne lewisSat 3/23 9:30am-4:30pm [1 day]

A collage starts with one scrap, one idea, or one image and builds to reveal a story of individual and often disparate elements. In one intensive day examine the building pro-cess and explore the underlying structures that support the compositions you create. Experiment with collage materials and enjoy the playfulness and pleasure of this liberat-ing medium.WW1310 all levels $95

weeklong workshops

Weeklong workshops allow artists the opportunity for intensive training under the guidance of a nationally respected instructor, while devoting a concentrated period of time to the practice of making art.

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Tom Hoffmann, detail Melissa Weinman, detail Geoffrey Laurence, detail

Winter

watErCoLor: baLanCinG SpontanEity & thouGhtFuLnESS*Tom hoffmannMon-Fri 9:30am-4:30pm 1/7-1/11 [5 days]

There is an unmistakable feeling of spon-taneity in the best watercolor that arises from the fl uidity and transparency of the medium. It may be hard to imagine the role of a thoughtful approach in such a seemingly fortuitous process, but, in fact, it is focused awareness that provides the confi dence it takes to give the paint room to assert its best qualities. The workshop will follow the inquiry-based approach described in Tom Hoffmann’s book, providing practice fi nding your way to assured brushwork.Wa1301 int/aDv levels $600* Lecture/Exhibition/Book signing, see pp. 6-7.

portrait paintinG in oiL**Melissa WeinmanMon-Fri 9:30am-4:30pm 1/7-1/11 [5 days]

Learn the all prima or direct method of painting an oil portrait. Begin with studies in the anatomy of the head and shoulders, and progress through structural drawing to the mixing of color for value and temperature. Discussions will also include composition strategies, pigment choices for fl esh tones, brushwork as it applies to structure and texture, and the manipulation of edges.Wa1302 int/aDv levels $625** Lecture/Exhibition, see pp. 6-7.

FiGurE paintinG in thE rEnaiSSanCE traditiongeoffrey laurenceMon-Sat 9:30am-4:30pm 1/7-1/12 [6 days]

Based on traditional 15th- and 16th-century painting techniques, examine the painting process in three logical steps — developing an accurate drawing, refi ning a monochro-matic underpainting and completing the work in full color. Learn to see and paint fundamental relationships, refi ning priori-ties when developing work. Study historical paintings for interpreting the fi gure and learn to use them as a modern painter, sharpening your painting process and uncovering artistic metaphors.Wa1303 int/aDv levels $675

iLLuSioniStiC paintinG in GriSaiLLE alan CarrollMon-Fri 9:30am-4:30pm 12/3-12/7 [5 days]

Grisaille, made popular by artists of the 14th and 15th centuries, and used more recently by Picasso to paint Guernica, is often used in large decorative schemes in imitation of sculpture. For this workshop, you learn to carefully observe how light falls on objects, revealing form and value. Daily discussions include an overview of illusionistic relief paint-ing as well as a brief introduction to perspective and historic grisaille masterworks.Wa1217 intermeDiate $600

Winter

DeCember 2012

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Gary Faigin, detail Carlos Madrid

portrait drawinGgary FaiginMon-Fri 9:30am-4:30pm 3/25-3/29 [5 days]

With fi ve intense days of drawing from por-trait models and your own self-portrait, you learn the essential techniques and concepts of proportion, line, value, volume, structure and composition in rendering complex portraits. You focus on the basic concepts of drawing applied to the human skull and learn to think visually, translating what you see into a compelling portrait. Through demon-strations and hands-on practice, you learn working methods that are clear and fl exible, designed to increase perceptual observa-tion, problem solving skills and technical application.Wa1304 all levels $600

“an art school can be much more than a place where students learn to paint, draw or sculpt; it can also be an incuba-tor of ideas, a catalyst for creativity and a contributor to the cultural legacy of its community. an art school can change lives; it can help shape history.”

—gary Faigin

Gary Faigin is the author of The Artist’s Complete Guide to Facial Expression, an essential tool for artists, illustrators, animators, plastic surgeons and forensic artists the world over. His expertise in both the structural and surface forms of the head and facial expressions offers a wealth of creative concepts for application to your own portrait work.

thE munSELL CoLor SyStEm: thEory & appLiCationCarlos Madrid

The way artists visually match color today is the result of the work of artist and art professor Albert H. Munsell over a century ago. Join Carlos Madrid, a disciple of the celebrated Norwegian painter Odd Nerdrum, for an in-depth exploration into the art and science of this system, where color is numerically classifi ed based on three color dimensions: hue, value (lightness), and chroma (color purity). Munsell’s ground-breaking work has fostered a greater understanding of color principles to aid artists in communicating color accurately, and opening new worlds of possibility.

StiLL-LiFE paintinGMon-Fri 9:30am-4:30pm 4/1-4/5 [5 days]

Featuring daily instructor demonstrations on a small painting, you explore the system-atic application of complex color strategies in your own still life painting. Working with the concepts and theories of the Munsell Color System, you spend the week creating a compelling still life that exhibits your tech-nical mastery and artistic understanding of the world of color. New students welcome.Wa1306 int/aDv levels $600

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thE munSELL CoLor SyStEmMon-Fri 9:30am-4:30pm 3/25-3/29 [5 days]

Through a rigorous examination of Munsell’s revolutionary system, you learn to create a full color wheel, including laying out a full chromatic fl esh-tones palette. Through your newfound under-standing of the world of color, learn to communicate your artistic vision in your own work, and develop a more thoughtful approach to mastering color.Wa1305 int/aDv levels $600

While attending the Boston Normal Art School in the late 19th century, artist and educator ALBERT H. MUNSELL (1858-1918) was keenly aware that a practical theory of color did not exist. From his own work and experiments, he devised the Munsell Color System, a practical notation system in which color is defi ned according to hue, value, and chroma. Munsell’s work was hugely infl uential in evolving color science theory at the turn of the century, and served as the basis for today’s color matching technology.

registration for both workshops: $1,100 — a savings of $100!

Drawing, painting and sculpting from observation form the cornerstones of Gage classes, which are open to artists of all ages and skill levels. With a focus on the realist tradition, Gage presents the broadest range of fi gurative studies in the Northwest.

For students seeking continuing education, Gage offers 10-week classes throughout the academic year (and two fi ve-week summer sessions), as well as weekend and weeklong workshops, lecture series’, and open and reserved studio sessions.

SkiLL LEVELSBeneath each class listing is a skill level. Use the guide below to determine what classes best match your skill level.

beGinninG: You have limited or no experi-ence with drawing, painting or sculpting.

intermeDiate: You understand the principles of rendering light, shade and value, and can draw any object, including the fi gure, with reasonable profi ciency; paint with an understanding of media application and use color to describe form and space; sculpt with an understanding of structure, form, and rhythm, basic techniques and tools.

aDvanCeD: You exhibit a technical mastery of drawing, painting or sculpting, and are beginning to focus on the “why” in addition to the “how.”

GaGE Foundation proGramSClasses and workshops at Gage are open enrollment, meaning you choose what to take based on your own interests and considerations. The Foundation Drawing and Painting Programs*, however, were sequenced as a means to help you decide which class to take next.

These programs are designed with the structure of academic training in mind: building skills through an accumulating series of classes that offer both a breadth and depth of study. A foundation in art is critical to a student’s success in achieving a solid understanding of core concepts for their own studio practice.

*sculpting curriculum available upon request; please contact Gage at 206.323.4243 x10.

Foundation CErtiFiCatESWhile everyone is free to take foundation classes, formal enrollment in the Foundation Drawing and Painting Certifi cate programs allows you the opportunity to earn a Foun-

dation Certifi cate, and offers distinct ad-vantages to taking Foundation courses à la carte. The program includes quarterly guid-ance from a curriculum advisor, a certifi cate of completion, and a solo show in the Entry Gallery at Gage. The cost for enrollment is $250 per certifi cate and you have fi ve years to complete each program.

The Foundation Drawing Program does not require a portfolio, however, enrollment into the Foundation Painting Program requires the completion of the Foundation Drawing Program or a portfolio review with a cur-riculum advisor.

CLoCk hourS at GaGEGage now offers educator clock hour credits for select classes in drawing, painting, and sculpting. Register for classes as normal, and for an additional administrative fee of $75 per 30 hours completed, you can earn clock hours toward your continuing education. Look for the symbol which indicates if a class qualifi es for clock hours; in Winter 2013 there are 7 classes available. For questions, please call Gage at 206.323.4243 x10.

Foundation drawinG proGram see pages 15–18, 22

fallFoundation Drawing I*Foundation Figure Drawing I*Perspective DrawingPrinciples of Perspective Drawing lectures

WinterFoundation Drawing II*Foundation Figure Drawing II*Design Concepts for ArtistsAnatomy for the Artist lectures

sprinGAesthetics of DrawingFoundation Figure Drawing III*Figure Drawing in InteriorsPortrait DrawingFigure SculptingDrawing the Features of the Head lectures

Foundation paintinG proGram see pages 19–21

fallFoundation Still-Life Painting I*Foundation Figure Painting: Color into Value*Color for Painters

WinterFoundation Still-Life Painting II*Foundation Figure Painting: Head, Hands, Feet *Contemporary Portrait PaintingDesign Concepts for Artists (or elective)

sprinGFoundation Still-Life Painting III*Foundation Figure Painting: Figure in ContextFigure PaintingPortrait PaintingPortrait Sculpting*class meets twice a week

Curriculum & Foundation programs

iS GaGE For you?Contact Curriculum Advisor Anne

Petty at [email protected] to schedule a 30-minute interview, including a review of your portfolio,

a tour of the facilities, and more. Contact us today and fi nd out

if Gage is right for you!

Working from a live model is fundamental to an artist’s training at Gage.

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open Studios

open, Reserved and Mentored Studios provide opportunities for Gage students and artists in the community to work independently from the model or on personal projects under the mentorship of a Gage instructor or graduate.

drop-in FiGurE StudioSNo instructor

In the tradition of all professional art schools, Gage offers drop-in fi gure studios every day of the week. Artists work independently from the model on a drop-in basis, gaining hands-on practice in drawing, painting or sculpting the fi gure. In Artist’s Choice sessions, the pose is set by a Gage instructor who works alongside studio artists for the duration of the pose.

st1301 first visit free$14 (drop-in) / $55 (5-session pass)$160 (20-session pass)

rESErVEd FiGurE StudioSNo instructor

In the Reserved Figure Studios, a group of dedicated artists work from one fi gure pose throughout the 10-week quarter, with the pose set on the fi rst night. Artists must regis-ter before the quarter begins to guarantee an easel space.

st1302 (mon) $165 Dwg/Ptg

st1303 (thurs) $165 ($180 includes clay) Sculpting st1304 (fri am) $165 Dwg/Ptg st1305 (fri pm) $165 Dwg/Ptg

st1306 (sun) $165 ($180 includes clay) Sculpting

priVatE mEntorinG proGraminstructor assigned individually

Connect with a Gage mentor for guidance on your creative journey. Depending on your skill level, mentors give private art lessons or assess your work, make suggestions for further study, and helping to develop a road map for your future study. To enroll, call Gage to help you determine the best match for your mentoring needs.

mp1301 mentoring by a Gage instructor: 3 hours $225 ($175 if enrolled in a concurrent Gage program)

mp1302 mentoring by a Gage Graduate: 8 hours $250

Call 206.323.GaGe.

sponsored by 1124 pike streetWinter break schedule | november 26 – january 13

morning

afternoon

Evening

Drop-in anD reserveD fiGure stuDios

monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday11/26 - 12/10, 1/7 11/27 - 12/11, 1/8 11/28 - 12/12, 1/9 11/29 - 12/13, 1/10 11/30 - 12/14, 1/11 12/8 - 12/15, 1/12 12/2 - 12/16, 1/13

9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm lonG pose lonG pose short poses short poses lonG pose lonG pose short poses short poses lonG pose lonG pose short poses short poses lonG pose lonG pose short poses short poses lonG pose lonG pose short poses short poses lonG pose lonG pose short poses short poses

1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm short poses artist’s ChoiCe lonG pose lonG pose short poses artist’s ChoiCe lonG pose lonG pose short poses artist’s ChoiCe lonG pose lonG pose short poses artist’s ChoiCe lonG pose lonG pose short poses artist’s ChoiCe lonG pose lonG pose short poses artist’s ChoiCe lonG pose lonG pose short poses artist’s ChoiCe lonG pose lonG pose

6:00pm - 9:00pm 6:00pm - 9:00pm 6:00pm - 9:00pm 6:00pm - 9:00pm 6:00pm - 9:00pm 6:00pm - 9:00pm 6:00pm - 9:00pm open stuDio open stuDio @@

Winter Quarter schedule | january 14 – march 24

morning

afternoon

Evening

monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday monday tuESday wEdnESday thurSday Friday Saturday Sunday1/14 - 3/18 1/15 - 3/19 1/16 - 3/20 1/17 - 3/21 1/18 - 3/22 1/19 - 3/23 1/20 - 3/24

9:30am - 12:30pm 9:30am - 12:30pm9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 10:00am - 1:00pm9:30am - 12:30pm 10:00am - 1:00pm short poses short poses short poses short poses reserveD stuDioreserveD stuDio short poses short poses reserveD stuDioreserveD stuDio Dwg • Ptg / ST1304 10-week pose sculpting / st1306 sculpting / st1306 sculpting / st1306 sculpting / st1306 sculpting / st1306 sculpting / st1306 sculpting / st1306 [pose set w/Wolfe sat am class, s1307] sat am class, s1307] sat am class, s1307] sat am class, s1307] sat am class, s1307] sat am class, s1307] sat am class, s1307]

[pose set w/Wolfe sat am class, s1307]

[pose set w/Wolfe

1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose lonG pose artist’s ChoiCe lonG pose lonG pose

6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm reserveD stuDioreserveD stuDio short poses reserveD stuDioreserveD stuDio reserveD stuDioreserveD stuDio open stuDio open stuDio @@

Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305 [pose set w/magrath [pose set w/magrath [pose set w/magrath [pose set w/magrath

tues eve class, s1304] tues eve class, s1304] tues eve class, s1304] tues eve class, s1304] tues eve class, s1304] [pose set w/magrath

tues eve class, s1304] [pose set w/magrath [pose set w/magrath



tues eve class, s1304] [pose set w/magrath

Dwg • Ptg / ST1302 Sculpting / ST1303 Dwg • Ptg / ST1305

on Capitol hill

on Capitol hill

Lecture Series

join students, artists, and the general public for informative discussions of the history, context, process, and techniques infl uencing contemporary art and artists. You may register for an entire series or drop-in for a single session.

tuesDays

anatomy For thE artiSt DMichael Magrath7:00pm-8:30pm 1/24-3/14

Magrath lays out a clear and intuitive method for seeing form and understand-ing the structure of the human body as a foundation of artistic expression, allowing for more accurate drawing and composi-tion. Discussions include anatomical detail as to the working of bones and muscula-ture, as well as overall shapes and general principles of construction and action as exhibited on the model.

Anatomy for the Artist is part of an ongo-ing series of technical lectures for art-ists, preceded by Principles of Perspective Drawing (fall) and followed by Drawing the Head (spring). The lectures can be taken sequentially as a series, or independently of each other..

Jan 24 Bio-Mechanics & the Canons of Proportion

Jan 31 Pelvis & Trunk

Feb 7 Ribs & Spine

Feb 14 Reach: Shoulders & arms

Feb 21 locomotion: The Buttocks & legs

Feb 28 Support & Manipulation: Feet & hands

Mar 7 Skull: Cranium & Face

Mar 14 Features, Skin & Fat

all levels/publiC WelComel1301 $105 for series/$15 drop-in

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WeDnesDays

moVEmEnt into maSS: paintErS oF thE baroquECarol hendricks7:00pm-9:00pm 2/6-2/27

In stark contrast to the serene mood and luminous colors of Michelangelo and others working in the Renaissance tradition, paint-ing of the Baroque period is characterized by images of great drama, deep color, and intense emotion. Initially scorned for the excesses of its emphasis, Baroque painting has come to be known for its high techni-cal standards, and graceful but imposing style. Join art historian Carol Hendricks for a revealing four-part look at the art and artistry of some of Europe’s greatest Baroque masters.

Feb 6 italian Baroque: Caravaggio and the Caravaggisti

Including the work of Guido Reni, Andrea Pozzo, Rosalba Carriera and others

Feb 13 The Dutch Masters Rembrandt, Franz Haals and Vermeer,

plus lesser known genre, still-life, and landscape painters

Feb 20 Flemish Baroque: Rubens, Van Dyck and Friends

Including the work of Adrian Brouwer and Jacob Jordeans

Feb 27 French/Spanish Baroque Including Poussin, Claude Lorrain,

Georges de la Tour and the le Nain brothers; and Spaniards Zurbaran, Velazquez, and Ribalta

all levels/publiC WelComel1302 $75 for series/$15 drop-in

Leonardo da Vinci young girl with a Flute, Jan Vermeer Portrait of the artist, Rembrandt van Rijn

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GaGe GuiDeD tours

rEmbrandt, GainSborouGh, Van dyCk: the treasures of kenwood house, LondonFebruary 14-May 19, 2013

Tour Guide: gary FaiginWednesday, March 20 3:00pmWednesday, April 24 3:00pm

The works in this stunning exhibition are all from the private collection of the 1st Earl of Iveagh, Edward Cecil Guinness (1847-1927), heir to the Guinness brew-ing fortune. The collection is usually on view at Kenwood House, a neoclassical villa in Hampstead Heath in London, but because the villa is closed for renovation, 48 of the greatest works from the Iveagh Bequest are coming to the Seattle Art Museum.

Now you can experience these stun-ning masterworks through the unique perspective of Gage co-founder and celebrated artist and critic, Gary Faigin. Discover the remarkable artists behind the art, explore the historical and politi-cal climate of the times, and marvel at the beauty of these iconic images.

Gary Faigin is the Artistic Director and co-founder of Gage Academy of Art. He received his training at the Art Students League in New York, and at the Ecole des Beaux Arts in Paris. His work is featured in public and private collections across the United States.

all levels/publiC WelComeatr1304 all Dates $15/personLimited space available — register today!

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drawing Classes

D rawing from observation provides the structural foundation for the translation of the physical world into a two-dimensional image. Drawing classes run for 10-week sessions with most classes meeting once a week for three hours. Or, explore the

Drawing Foundation Program, which provides an academic progression of artistic training. Learn more about Foundation Programs on page 12 and look for the D symbol in class listings. Please Note: Most classes require out of studio homework.

beGinninG

CaSt drawinGSusan Bari PriceMonday 9:30am-12:30pm 1/14-3/18

Learning to draw from casts allows for the study of line and mass without the compli-cation of color. Focus on the block-in, the foundation of the classical drawing process, and progress to values and modeling. In addition, practice expressive skills through various gesture drawings.D1301 all levels $430

dESiGn ConCEptS For artiStS D Kimberly TrowbridgeMonday 1:30pm-4:30pm 1/14-3/18

Discover how even the smallest mark or color on a two-dimensional surface impacts the relationships in a composition. Complete a series of projects that incrementally intro-duce the language of design, and explore design elements such as line, shape, color, texture, form and value.D1302 all levels $430

Susan Bari Price, detail Suzanne Brooker, detail Margaret Davidson, detail

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bEGinninG CoLor harmony Margaret DavidsonTuesday 1:30pm-4:30pm 1/15-3/19

Using artists such as Titian, Johannes Ver-meer and Matisse, learn to map out how they composed with color and apply that informa-tion to your own art. Work with traditional triadic, complementary and split-comple-mentary systems, along with more modern variations. Compose in colored pencils, but your color learning applies to your future studies in paint as well. Prerequisite: Begin-ning Color Theory or equivalent.D1303 beGinninG $430

pErSpECtiVE drawinG D Michael laneTuesday 1:30pm-4:30pm 1/15-3/19

Michael laneWednesday 6:30pm-9:30pm 1/16-3/20

Explore methods for creating pictorial space using perspective. Drawing from the imagi-nation, memory and observation, learn to use aerial as well as one-, two- and three-point perspective to develop strong compositions. Drawing, discussions and critiques are part of each session. Some drawing experience is recommended, but not required. D1304 all levels $430 (tuesday)D1307 all levels $430 (Wednesday)

bEGinninG FiGurE drawinGVonn SumnerTuesday 6:30pm-9:30pm 1/15-3/19

Gain technical mastery and intuitive under-standing of the human form. Working from quick gesture drawings up to longer, more considered poses and drawings, learn to incorporate proportion and anatomy, the use of light and shade in the depiction of volume, and the use of line and tone to describe planar changes in the body.D1305 beGinninG $430

LandSCapE drawinG: LinE, tonE & CoLorSuzanne BrookerWednesday 9:30am-12:30pm 1/16-3/20

Discover the power of line, tone and color to enhance your personal expression in a landscape drawing. Weekly lessons build your skills as you explore the calligraphic line, dynamics of value and color schemas from the realistic to the outrageous, working from photographs and memory or imagination. D1306 all levels $430


Gage programs

p Foundation painting

D Foundation drawingMore info on p. 12

Clock-hour Course

drawing Classes (continued)

Vonn Sumner Eric Elliott Michael Lane

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CompoSitionMargaret DavidsonThursday 1:30pm-4:30pm 1/17-3/21

Solve compositional problems, starting with simple ones and working towards greater complexity. Work with charcoal on paper, though students may use graphite or pen and ink or conté on paper if they prefer. The focus is on solving problems rather than making fi nished art, so be prepared for the joyous mess of different ideas cut and pasted together while fi nding your own sense of artistic asymmetrical balance.D1308 all levels $430

drawinG For bEGinnErSaron hart Thursday 1:30pm-4:30pm 1/17-3/21

Explore the key concepts and artistic prin-ciples behind rendering line, shape, propor-tion and negative space while working from the still life and the human fi gure. Explore various drawing media, including charcoal and graphite, and progress from simple lines toward a nuanced understanding of tonal description. D1309 beGinninG $430

botaniCaL drawinGKathleen McKeehenFriday 9:30am-12:30pm 1/18-3/22

Beginning with measurement techniques, observational skills and the unique require-ments of botanical art, learn to use line to accurately portray subjects, then move on to understanding light’s effect on form and how to use shading for three-dimensionality. While focusing on plants, the skills you acquire apply to any realistic drawing effort and are an excellent preparation for learning botanical watercolor. Intermediate students are welcome and can take on more advanced plant subjects.D1310 all levels $430

pEn and ink drawinGeric elliottFriday 9:30am-12:30pm 1/18-3/22

Work with a variety of pens and inks, including pens constructed from bamboo and forsythia. Learn hatching, stipple, line, brushwork and even unusual techniques like eye lashing, working from actual still-life set ups and from master copies. Emphasis is placed on developing direct pen and ink drawing skills with no preliminary pencil underdrawing. Intermediate and advanced students welcome.D1311 all levels $430

bEGinninG portrait drawinG Deric elliott Friday 1:30pm-4:30pm 1/18-3/22

Working from portrait models and self-portraits, study the essential techniques and concepts of proportion, line, value, volume, structure and composition. Focus on the basic concepts of drawing applied to the human form and learn to think visually, translating what you see into a compelling portrait. D1312 beGinninG $460

portrait drawinG DMichael laneFriday 6:30pm-9:30pm 1/18-3/22

Working from portrait models and self-portraits, study the essential techniques and concepts of proportion, line, value, volume, structure and composition. Focus on the basic concepts of drawing applied to the human form and learn to think visually, translating what you see into a compelling portrait using simple techniques.D1313 all levels $460


Give the Gift of Gage! Purchase a gage gift certifi cate in any amount, good for any class, workshop, or art tour. Visit gageacademy.org, or call Kathleen at 206.323.gage x16.

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@gageacademy

Geoff Flack Kimberly Trowbridge Melissa Weinman

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intermeDiate

Foundation FiGurE drawinG ii D geoff FlackMon/Wed 1:30pm-4:30pm 1/14-3/20

Work in a variety of drawing media to build a foundation of skills and methods for creating accurate, emotive renderings of the human figure. Learn concrete techniques for con-veying form, contour, structure and volume. Anatomy and proportion are stressed throughout, while class discussions and critiques add context and breadth.D1314 intermeDiate $695

Foundation drawinG ii D Terry FurchgottTues & 9:30am-12:30pm 1/15-3/21Thurs 9:00am-Noon

Margaret DavidsonTues/Thurs 6:30pm-9:30pm 1/15-3/19

Improve the ability to draw accurately and to render volumetric forms through the clear application of relative tones of light and shadow. Complete complex still-life composi-tions, drapery and nature studies, handling value, texture, pattern and perspective, in-cluding substantial work with the figure. This course is followed by Aesthetics of Drawing (Davidson) and Figure Drawing in Interiors (Furchgott). Open to students with intermedi-ate drawing skills.D1315 intermeDiate $685 (furchgott)D1316 intermeDiate $660 (Davidson)

miXEd-mEdia FiGurE drawinG: tEXturE, CoLor, LinEBarbara FugateWednesday 6:30pm-9:30pm 1/16-3/20

Using a variety of media including soft pas-tel, charcoal and colored ink wash, compose dynamic figure drawings from the model that utilize bold textures, vivid color and en-ergetic line. Extended studies allow for time to layer materials and create a visual balance between contrasts, including quick gesture studies based on the basic principles of line, space and volume. D1317 intermeDiate $460

ContEmporary FiGurE drawinG: miXEd mEdiaKimberly Trowbridge Thursday 9:30am-12:30pm 1/17-3/21

Students will develop works on paper by ex-perimenting with ink washes, gouache, and collage, while working from the life model. Moving from value-based works into a final, mixed-media composition incorporating color. Prior experience drawing or painting from the life model recommended. D1318 intermeDiate $460

intErmEdiatE FiGurE drawinGVonn Sumner Thursday 6:30pm-9:30pm 1/17-3/21

Create credible figures from observation as you draw from the model, starting with short gesture poses, and working toward longer poses. Study anatomy, proportion, volume and form, and solutions to common figure drawing challenges such as foreshortening, facial expression and placing the figure in an environment. Class time includes lectures, demonstrations and group critiques.D1319 intermeDiate $460

FiGurE & portrait drawinG Melissa WeinmanSaturday 10:00am-4:30pm 1/19-2/16 [5 wks]

Using the drawing medium of your choice (charcoal, graphite or trois crayon), refine your shape and value skills while working from the model. Achieve more accurate shapes, increase your understanding of the surface anatomy of the figure and head, and study the way light falls on three-dimensional forms. D1320 intermeDiate $460

aDvanCeD

adVanCEd FiGurE drawinGKathy liaoTuesday 1:30pm-4:30pm 1/15-3/19

Apply techniques learned in intermediate figure drawing to develop your work into more sophisticated renderings. Opportuni-ties to explore life drawing are available, with several classes dedicated to a single pose. Throughout, students develop patience and bring their drawings to a higher level of resolution. Alternative materials may be introduced if desired.p1321 aDvanCeD $460


painting describes both a process and a product, and ultimately demonstrates the technical, expressive and conceptual abilities of an artist. Painting classes begin with traditional programs like color theory and grisaille painting, and advance to

professional-level classes based on conceptual and abstract theories.

Painting classes run for 10-week sessions, most meeting once a week for three hours. Or, explore the Painting Foundation Program, which provides an academic progression of artistic training. Learn more about Foundation Programs on page 12 and look for the p symbol in class listings. Please Note: Most Gage classes require out of studio homework.

painting Classes

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portraitS in watErCoLorhamid ZavareeiMonday 1:30pm-4:30pm 1/14-3/18

Experiment with both traditional watercolor techniques and looser approaches to capture the essentials of your portrait model with simple contours. Focus on head, facial struc-tures and proportion, placing an emphasis on the economy of the line, and allowing for the watercolor to build up the volume and structure of the head and face to render the values. p1301 beGinninG $460

FiGurE paintinG in oiLanne PettyTuesday 9:30am-12:30pm 1/15-3/19

Learn to create a dynamic figure painting in oil from the live model. Starting with a limited palette, learn how to block-in value and temperature shapes that comprise the figure and surrounding environment. Explore practical color-mixing strategies and work up to a final painting with an extended pal-ette, emphasizing composition and accurate figure proportions. p1302 all levels $460

bEGinninG watErCoLorTom hoffmannWednesday 1:30pm-4:30pm 1/16-3/20

Develop an understanding of transpar-ent watercolor to aid in making conscious choices regarding color, value, wetness and composition before the brush touches the paper. Then strokes can be made with the authority that watercolor rewards. p1305 beGinninG $430

FLEmiSh tEChniquES oF thE oLd maStErShamid ZavareeiWednesday 6:30pm-9:30pm 1/16-3/20

Extend your painting arsenal to encompass and incorporate non-traditional media and techniques. Explore different approaches to abstract art, including spontaneous gestural painting, color-field simplification, drip painting and collage; as well as innovative painting approaches and experimenting with different ways to apply paint. $15 materials fee payable to instructor.p1306 intermeDiate $430

portrait paintinG: FaCES oF youth Suzanne BrookerWednesday 6:30pm-9:30pm 1/16-3/20

Give your portraits of children a fresh and expressive look through a closer study of the subtle proportions of the human head, developing a more refined color palette and applying brush techniques for capturing the smooth texture of skin. Working from your favorite photograph, we’ll also learn how to approach hair, clothing and the background atmosphere. p1307 all levels $430

Anne Petty, detail Aron Hart Terry Furchgott, detail

bEGinninG portrait paintinGaron hartTuesday 6:30pm-9:30pm 1/15-3/19

Work from models and classical casts, com-plete drawings, color studies and one finished portrait to capture the accurate proportions and three-dimensional structure of the head and face. Master the basics of acrylic tech-nique, brushwork and color mixing in order to create lively and precise images full of bold color and dramatic light and shadow. $15 materials fee payable to instructor.p1303 all levels $460

paStEL portrait paintinG Terry FurchgottTuesday 6:30pm-9:30pm 1/15-3/19

Learn to capture the face and features of your model with luminous skin tones and convincing three-dimensional modeling using the classic portrait medium of pastel. Start with basic proportions and accurate drawing techniques, then move on to features, hair and likeness from the front, side and three-quar-ter views. Working with a variety of skin tones and shadow colors, learn to use bold strokes and subtle layering to complete multiple stud-ies and one finished portrait. $12 materials fee payable to instructor.p1304 all levels $460


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FiGurE paintinG in oiL Kathy liaoWednesday 6:30pm-9:30pm 1/16-3/20

Create a fi gure painting in oil from the live model. Starting with a limited palette, learn how to block in temperature shapes that comprise the fi gure and surrounding environment. Explore practical color mixing strategies, and develop an extended palette with an emphasis on composing and sighting accurate fi gure proportions.p1308 all levels $460

LandSCapE paintinG in oiLS: watEr rEFLECtionS Suzanne BrookerThursday 9:300am-12:30pm 1/17-3/21

Learn how to paint the beguiling effects of water refl ections that capture the illusion of the sky and landscape in fl uid movement. Explore wet-on-wet techniques versus layer-ing with transparent glaze colors to achieve a rich painterly surface.p1309 all levels $430

CoLor For paintErS pKimberly TrowbridgeThursday 1:30pm-4:30pm 1/17-3/21

Learn rigorous color mixing and palette organization strategies, and how to apply that knowledge to observational studies. Working from still-life constructions made from colored paper, build a strong working relationship with color in terms of value, temperature, and intensity. A fi nal study will consider the role of color contrast in composition and the development of space. Students from all levels can benefi t from this course. Homework required.p1310 all levels $430

LanGuaGE oF paint (bEGinninG oiL paintinG)Suzanne BrookerThursday 6:30pm-9:30pm 1/17-3/21

Each week, paint a small work that combines brush techniques such as impasto texture, painting fi ne details or layering atmospheric effects with color mixing strategies. An overview of old and new master artists will provide inspiration as you work from broken brush strokes to smooth blending, high key to saturated color. p1311 all levels $430

bEGinninG oiL paintinGMitch albalaFriday 1:30pm-4:30pm 1/18-3/22

This class takes an accessible and non-intimidating approach to learning all the basics of oil painting. Using simple still life as the vehicle, learn how to do preparatory studies and compose with a limited focus, value relationships, beginning a painting with underpainting, and paint handling. Color lessons explore the key attributes of color (hue, value, chroma), the benefi ts of limited palettes, and color mixing. Class time includes demonstrations, critiques, and open painting. Previous drawing experience required.p1312 beGinninG $430

paintinG naturE in watErCoLorKathleen McKeehenFriday 1:30pm-4:30pm 1/18-3/22

The classic watercolor method of the botani-cal artist, using washes and dry-brush tech-nique, can also be very effective in portray-ing other natural science subjects, such as birds, bones, shells and more. As a beginner, learn these techniques and employ them to realistically render botanical subjects and other subjects in nature. Intermediate students are welcome to apply their skills to the challenges of other natural objects. p1313 all levels $430

portrait paintinG in oiLMichael laneSaturday 10:00am-1:00pm 1/19-3/23

Learn from observation, acquire strategies for organizing visual information and study historic precedent while you work to render convincing and compelling likenesses of the model in oil.p1314 all levels $460

EnCauStiC paintinGhamid ZavareeiSaturday 2:00pm-5:00pm 1/19-3/23

Learn the basics of this ancient, luminescent wax medium, including material, surface and painting techniques as you explore a range of encaustic applications: from simple addition of wax to hot-wax painting and the heating of wax-painted surfaces. Group and individual instruction includes techniques for heating, mixing and application, as well as layering and transferring methods. $25 partial materials fee payable to instructor.p1315 all levels $430

Kathy Liao Kathleen McKeehen, detail Hamid Zavareei, detail


Gage programs

p Foundation painting

D Foundation drawingMore info on p. 12

Clock-hour Course

painting Classes (continued)

Larine Chung Susan Bari Price Charles Emerson, detail

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abStraCt paintinG iJulia RickettsSunday 10:00am-1:00pm 1/20-3/24

Investigate the language of abstraction through examples and methods of 20th and 21st century artists using oil or acrylic paint. Topics include pure mark-making, repetition and structure, and color as content. p1316 all levels $430

bEGinninG oiL paintinGlarine ChungSunday 2:00pm-5:00pm 1/20-3/24

Merge paint handling with color mixing in simple study paintings that allow you to practice and integrate the basic skills of oil painting. Using a step-by-step approach you learn how to move from the process of draw-ing into painting: begin a painting, design a color palette and build the paint surface using a variety of brush techniques.p1317 all levels $430

intermeDiate

FiGurES in ContEXt: CoLor with oiLS Kimberly TrowbridgeMonday 9:30am-12:30pm 1/14-3/18

Develop two oil paintings from a common environment, including multiple views of the life model. Each painting will consider a dif-ferent triad of color relationships, while com-positional strategies and the development of layers of space are explored. Prior experience painting from the life model recommended. p1318 intermeDiate $460

intErmEdiatE FiGurE paintinG with aCryLiCSTerry FurchgottMonday 6:30pm-9:30pm 1/14-3/18

Focus on accurate drawing and your ability to see and reproduce the subtle coloring of the human figure, using quick drying acrylics to create both bold, painterly sketches, and one five-week finished painting. Starting with a limited number of earth colors and progress-ing to more complex palettes you study in depth color theory including the roles of temperature, value, and saturation, and accurate and efficient color mixing. Practice key brushwork and color layering techniques using semi-transparent and opaque paint. Homework required; previous experience draw-ing and painting the figure.p1319 int/aDv $460

Foundation FiGurE paintinG: p hEadS, handS, FEEtanne PettyMon/Wed 9:30am-12:30pm 1/14-3/20

Build a solid foundation for solving visual problems related to the figure, particularly focusing on the structural anatomy of the head, hands and feet, both as value studies and color studies. While becoming more familiar with your materials and tools, you gather strategies for analyzing structure and proportion. This course is second in a three-part series, which continues in the spring. New intermediate students welcome.p1320 intermeDiate $695

Foundation StiLL-LiFE p paintinG iiSusan Bari Price Mon/Wed 1:30pm-4:30pm 1/14-3/20

Delve deeper into color mixing in this second course in the foundation series. Explore classical color theory, color harmony, color keys and color schemes. Composition plays a greater role, along with continued practice in direct and indirect methods and brush-stroke technique. Learn to develop criteria for evaluating work. This course is the second in a three-part series, which continues with Foundation Still-Life Painting III (spring). New intermediate students welcome.p1321 intermeDiate $660

EXprESSiVE CoLoriStiC FiGurE paintinG iiCharles emersonTuesday 9:30am-12:30pm 1/15-3/19

Explore new ways to consider, experience, and paint your personal reactions in a col-oristic approach to the figure. Color, rather than tone or drawing, is the most important element in the structure, composition, modeling, and aesthetic intent. Various tech-niques in art history are used in a Modernist manner to add to your expressive options in both oil and acrylic. Basic figure drawing skill is necessary, and there is a $15.00 materials fee payable to the instructor.p1322 intermeDiate $460


Tom Hoffmann Barbara Fugate Julia Ricketts

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CoLor and LiGht in StiLL-LiFESusan Bari PriceWednesday 9:30am-12:30pm 1/16-3/20

The color of anything looks the way it does because of three variables: its local color, surrounding colors, and the light source. This class explores the logic and beauty of light and color through various exercises: color theory, color keys, schemes and palettes, including exercises in color design. p1323 intermeDiate $430

intErmEdiatE watErCoLorTom hoffmannWednesday 9:30am-12:30pm 1/16-3/20

Work with increasingly complex subjects as you expand your understanding of and dexterity with watercolor. Working from the still life, landscapes and photographs, learn to individualize the painting process, better understand the variables of watercolor painting, use the variables to your creative advantage and take informed risks. Students should have completed Beginning Watercolor or have basic watercolor experience.p1324 intermeDiate $430

portrait paintinG StudioMichael laneSaturday 2:00pm-5:00pm 1/19-3/23

An extension of Portrait Painting in Oil, build on fundamental concepts with special atten-tion paid to essential issues such as lighting, composition, accessories and more advanced oil painting techniques. Focus on longer poses as you explore portrait concepts to increase your aptitude in rendering costume elements, hands and the environment.p1327 intermeDiate $460

ContEmporary paintinG SEminarJulia RickettsSunday 2:00pm-5:00pm 1/20-3/24

Study trends and ideas in contemporary painting while you develop your individual voice as a painter. In this seminar-style class you create a small body of work that hangs together as a group. Readings and discus-sion enhance in-class work time and regular critiques. All media and subjects welcome. p1328 intermeDiate $430

aDvanCeD adVanCEd watErCoLorTom hoffmannTuesday 9:30am-12:30pm 1/15-3/19

As an experienced watercolor painter seek-ing to refi ne your practice and strengthen your personal style, you are invited to work under the close mentorship of Tom Hoff-mann to develop independent painting projects according to your artistic vision. De-velop your mastery of advanced techniques and innovative approaches to increasingly complex compositions. Class time includes group discussions and critiques. Comple-tion of Intermediate Watercolor or instructor permission required. New students welcome.p1329 aDvanCeD $430

matiSSE and morandiCharles emersonThursday 9:30am-12:30pm 1/17-3/21

Explore how two masters of emotion produce their additional reality through painterly rather than primarily pictorial means. Subtle nuances of form and color in an atmospheric haze inform the spirituality of the everyday object in Morandi, while new and radical innovations in color, form and technique evoke the joy of life through paint as a material to be worked in Matisse. Oil or acrylic, a $15.00 materials fee payable to the instructor. Basic painting and drawing skills are necessary.p1325 intermeDiate $430

FiGurE paintinG: CoLor & CompoSition Barbara FugateThursday 6:30pm-9:30pm 1/17-3/21

Three important elements of painting are color, composition and the use of contrast. Your choices of each, how they are balanced and utilized, produce distinctly different paintings. Using oils or acrylics, create both quick painting sketches and longer stud-ies from the fi gure model exploring depth of space, different color combinations, and ways to use line in painting. Dynamic com-positional arrangements and the power of contrast are also explored. Painting experi-ence recommended. p1326 intermeDiate $460



Sculpting Classes

t he transformative act of molding a physical substance into form gives the artist invalu-able insight into understanding proportion, balance, rhythm and movement in ways that two-dimensional study cannot. Sculpting classes may be appropriate for all skill

levels, and include full-size fi gure sculpting and écorché to complement classical training.

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Tip Toland, detail Katrina Wolfe Bill Evans

muLti mEdia SCuLpturEBill evansWednesday 9:30am-12:30pm 1/16-3/20

Work in various mediums to produce fi ne, fun and wonderful pieces of art. Mediums include wire, plaster, plaster and paper and clay. Keep a sketch book and spend some time studying subjects thru line sketches prior to implementation. Focus on developing a better understanding of what you see and how to improve your skills in translating it into what you make.s1305 all levels $460

FiGurE SCuLpturE: Form and baLanCE Bill evansFriday 9:30am-12:30pm 1/18-3/22

Create two fi nished pieces with an emphasis on improving and developing sculpture skills and understanding of form and balance as you interpret the model in clay. Work in white porcelain from the inside as well as out using a fl exible armature for support that will allow for repositioning the work during construc-tion. Emphasis will be on translating what you see and feel into what you make.s1306 intermeDiate $485

FiGurE SCuLpturE D Katrina WolfeMonday 9:30am-12:30pm 1/14-3/18

Katrina WolfeSaturday 10:00am-1:00pm 1/19-3/23

Refi ne the ability to see and render the fi gure through study of the underlying forms and uniting rhythms of the human body. Learn to hone artistic intention to convey meaning, working alongside the instructor to model a scale fi gure from a sustained pose. Learn the logistics of working from measure-ments, and how to utilize photographs and life castings. The pose is also available in the independent Sculpture Reserved Studio.s1301 beGinninG $485 (monday) (price includes clay)

s1307 beGinninG $485 (saturday) (price includes clay)

nuanCEd FaCiaL EXprESSionTip TolandTuesday 9:30am-12:30pm 1/15-3/19

Working life-size in solid clay on an armature, study facial expression using your own face, the model and photographs for a two week period, before cutting the mask off, hollow-ing it out, and beginning a new expression. Explore the range of the chosen expressions from barely detectable to full blown and the basic muscles which govern them. Demon-stration and discussion will abound.s1302 all levels $485

Foundation FiGurE SCuLpturE iiMike MagrathTues/Thurs 1:30pm-4:30pm 1/15-3/21

Work with the model on studies of isolated body parts while developing 1/4 scale man-nequins to aid in understanding underlying structure. Explore life casting as well as a variety of more advanced mold-making processes. Outside work will include 3-D Master copies. The class will culminate with a portrait bust at life-size. As in the previ-ous quarter, a concurrent, outside drawing component (whether in the Wednesday af-ternoon reserved drawing studio or another drawing class) is strongly recommended. Additional studio time will also be made available for outside assignments.s1303 intermeDiate $715

FiGurE SCuLptinG Studio Michael MagrathTuesday 6:30pm-9:30pm 1/15-3/19

Experience a clear and intuitive method to master the fundamentals of three-dimen-sional modeling, as well as develop advanced skills that radically improve the ability to see and understand the fi gure. Work from the same pose for the entire quarter, which is also available in the independent Sculpture Reserved Studio on Thursday nights (allow-ing for up to 20 sessions to develop work). s1304 all levels $485 (price includes clay)

* For full schedule and cost, see p. 13.


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sculpture reserved studioWinter schedule 1/14-3/24*

thurSday Sunday

6:30pm-9:30pm 10:00am-1:00pm reserveD stuDio reserveD stuDio reserveD stuDio reserveD stuDio sculpting sculpting [w/ s1304] sculpting [w/ s1307]

thurSday Sunday

6:30pm-9:30pm 10:00am-1:00pm reserveD stuDio reserveD stuDio

sculpting

1/17-3/21 [st1303] 1/20 – 3/24 [st1306]

running from mid-September through mid-June each year, Ateliers offer an intensive studio program for the serious artist-in-training. The ateliers (French for artist’s studio) are based on the traditional teaching model of the 19th-century European

academies, where dedicated art students apprenticed with a master artist.

Atelier students are given an individual studio space to complete projects independently under the guidance of their instructor. Working together in group studios, atelier students enjoy the benefi t of creative infl uence and dialogue among their peers within a focused environment.

Enrollment in the atelier programs is yearly, with nine months of dedicated instruction. For the 2012-2013 school year, the ateliers run September 10, 2012 through June 14, 2013. Aristides and Kang-O’Higgins students make a 30-hour-per-week studio commitment, including working half of every day from the fi gure model. Students of Faigin work inde-pendently for a minimum of 15 hours in the studio each week, in addition to attending two weekly teaching sessions.

Atelier students receive a 10% discount on all concurrent classes and workshops (includ-ing Aristides in Florence: Drawing Workshop & Art History Tour, see page 5), as well as free access to all Drop-In Figure Studios and any Lecture Series (see pp. 13-14). Occasionally, mid-year transfers are allowed — please inquire with the Registrar at 800.880.3898.

application deadline for 2013-14 is may 31, 2013. to schedule a visit or to receive application materials, please email [email protected] or call 206.343.4243 x15 or 800.880.3898.

ateliers

ariStidES atELiErClassical drawing & paintingJuliette aristides

Based on the 19th-century model for training painters, this four-year diploma program pro-vides time-tested methods for solving pictorial problems. Aristides teaches in stages; serious beginning students focus on drawing; more advanced students move into monochromatic and then fully chromatic painting. Fourth-year students work on individual projects with guest mentors. Work from casts, the model and master copies in a series of progressively complex projects. Intended for long-term students, the Aristides Atelier offers you the necessary vocabulary to create well-designed and well-executed drawings and paintings.all levelsat1301 12–13 annual tuition: $7,395

kanG-o’hiGGinS atELiErdrawing & paintingMark Kang-o’higgins

Intended for long-term students, the Kang-O’Higgins Atelier offers the opportunity to work on increasingly complex independent projects under the close guidance of your in-structor. You work with line and tone, light and shadow, color theory and mixing, proportion and anatomy, as well as different approaches to life drawing and painting. Learn to convey the essential nature of your subjects through fi nding the balance between technical accu-racy and expressive gesture. Short slide and technical demonstration lectures help you add to your skills and place your work into a wider historical and contemporary dialogue.all levelsat1302 12–13 annual tuition: $7,395

FaiGin atELiErStill-Life paintinggary Faigin

The Faigin Atelier offers painting students the opportunity to focus their studio practice on the study of still-life arrangements over the course of one to several years. The intimate studio set-ting enables you to devote as much time as you wish to creating paintings, without the limita-tions of model time or weather conditions. Be-cause everyone shares the same focus, optimal conditions for creative interchange and dialogue develop. You work toward success using the still life as a tool for the development of your own artistic voice, creating original, lively pictures that express your ideas and feelings, and focus on technique, rendering and composition.all levelsat1303 12–13 annual tuition: $4,080

Juliette Aristides Mark Kang-O’Higgins, detail Gary Faigin, detail

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Mark Kang-O’Higgins leads a discussion in his atelier studio.


[rEturninG StudEntS: winter quarter begins January 7, 2013]

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Scholarships Available!

Download an application at GageAcademy.org/youth or call

206.323.GAGE for more info.

youth Classes

EXpLorinG watErCoLorSWillow heathAges 7-12 Saturday 10:00am-Noon1/5 – 1/26 [4 sessions]

Watercolors are a versatile medium, ranging from bold abstract expression, subtle watery hues, and rough textures to fi ne, precise, and detailed lines. Learn elementary painting methods using acrylics as watercolor, and practice color mixing and brush techniques. Experiment with dry and wet brush tech-niques as well as color, shadow, and form. Use watercolors to ink your illustrations and tell your story!k1301 $100

Willow Heath has been teaching art classes in schools and studios in the Seattle area since 2002. Her classes encourage students to train their eye for color, light and detail, as well as to develop their own personal voice. Her paintings have been shown in galleries and art studios for more than a decade.

CoLLaGE portraiturEMandy halleniusAges 7-12 Saturday 10:00am-Noon2/2 – 2/23 [4 sessions]

Discover the various methods and tech-niques you can use to create portraits of yourself, your friends and your family! You will learn how to use color and block in shapes to capture the characteristic of your subject, with a thorough exploration of both the technical and interpretive aspects of creating structure for your faces. Learn how to control a variety of media, including paint, collage, fi ber and more! k1302 $100

Mandy Hallenius is a working artist and certifi ed art teacher. Her artwork is heavily based on Classical Realism and explores themes of social hierarchies in contemporary society. She also has over three years of professional teaching experience, and enjoys sharing her passion for art with students of all ages.

Gage Youth Programs offer practical art instruction in drawing, painting and 3-D design for kids and teens throughout the year. The curriculum encourages students to explore new materials and techniques, develop creative problem

solving skills and celebrate self-expression. Learn more about all of the Youth Pro-grams teaching artists at GageAcademy.org/artists.

All Youth Program supplies and materials are included!

january

Willow Heath Mandy Hallenius Angielena Chamberlain

kiDs Classes: saturdays ages 7 – 12

february

Gage youth programs receive Generous Support from:

Sponsorship logo standards

The Wells Fargo logo appears in Wells Fargo red and Wells Fargo yellow. Use the black 1-color version only for one- or two-color (black plus one color) applications such as newspaper advertising or forms.

Preferred

CMYK logo

1-Color100% Black

Print logo colors

Our logo colors must appear exactly the same every time they are used. On printed materials, Wells Fargo logo colors — Wells Fargo Red and Wells Fargo Yellow — must always match their CMYK formula respectively, whether printing on coated or uncoated stock. Never substitute other colors. This is especially important since certain paper stocks and different types of media may alter the way a color looks when reproduced. For this reason, a color check while the job is on press or in final production is essential. Drawdowns are strongly recommended in all cases. For print jobs requiring spot color pages, special spot ink formulas are provided from the Brand Management Team at [email protected].

Wells Fargo red:C: 10 M: 100 Y: 80 K: 20

Wells Fargo yellow:C: 0 M: 20 Y: 100 K: 0

Online logo colors

Below are the online color values of Wells Fargo red and Wells Fargo yellow.

Wells Fargo Red:R: 187 G: 8 B: 38 HEX: BB0826

Wells Fargo Yellow:R: 252 G: 198 B: 10 HEX: FCC60A

Clearspace and size

Clearspace frames the logo, separating it from other elements such as headlines, text, imagery, and the outside edge of printed materials.

Always leave the minimum amount of clearspace around the logo to maximize impact. In print, the preferred clearspace is half the height or width of the logo on each side. The absolute minimum clearspace requirement is a quarter of the height or width of the logo on each side. Online, the logo clearspace requirement is at least 10 pixels.

M A R K & S U S A N T O R R A N C EF O U N D A T I O N

mythiCaL animaLS in printangielena ChamberlainAges 7-12 Saturday 10:00am-Noon 3/9 – 3/30 [4 sessions]

Discover fun ways to draw and print animals while building serious drawing skills! Create an imaginative mythical beast and build a story, then transfer your drawing to linoleum to carve and print by hand. Learn the impor-tance of using different kinds of lines and marks to create light and shadows, environ-ment, and narrative; and have fun playing with ink and a printing press!k1303 $100

Angielena Chamberlain received her BFA from Cornish College of the Arts, and her Certifi cate of Graduation in Global Leadership and Non-Profi t Development from Universidad Karlovain in Prague. She has received numerous honors and scholar-ships, including the President’s Scholarship for high achievement at Cornish.

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SCiEnCE oF CoLoralisha Dall’ostoAges 13-17 Tuesdays 4:00pm-6:00pm Saturdays 1:00pm-3:00pm2/5 – 3/2 [8 sessions]

Discover exactly how colors work together in a painting! Learn the history of pigments, how paint is made, and the different color-wheels used in printing, light projection, and paint. Practice using complementary colors to create dramatic contrasts or mix them to create shadows and dimension. Under-stand how light changes the temperature of a color, and build the skills to create the realistic and powerful effects you want in your artwork!t1302 $195

Alisha Dall’Osto received her BA degree from Kenyon College. She has taught throughout the Seattle Public Schools system, at the Rotary Boys & Girls Clubs, the Milwaukee Art Museum, Artworks for Milwaukee, and as a guest artist at Northwest College in Powell, WY.

thE CLothEd FiGurESarah BixlerAges 13-17 Tuesdays 4:00pm-6:00pm Saturdays 1:00pm-3:00pm1/5 – 1/29 [8 sessions]

A clothed model is one of the most chal-lenging painting subjects! Use acrylic paint and mixed media to break down the figure and folds of clothing into workable abstract components with color, shape, and form. Examine contemporary and historical paint-ings to discover the ways they can inform your own work. The class will include quick and gestural alla prima paintings, as well as longer paintings at the end to put your skills to work!t1301 $195

Sarah Bixler earned her BFA in Drawing and Painting from the University of Washington, and has previously studied at Gage Academy of Art and Western Wash-ington University. In 2010 her work was selected for a juror’s choice award at the Jacob Lawrence Gallery.

january february

All Youth Program supplies and materials are included!

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rEaLiStiC FantaSy iLLuStrationJulie BarohAges 13-17 Tuesdays 4:00pm-6:00pm Saturdays 1:00pm-3:00pm3/5 – 3/30 [8 sessions]

Compose images within the world of fantasy, as you learn how to make convincingly realistic figures in your imaginary realm. You’ll explore traditional drawing techniques and anatomical principles, then meld those with common hybrid elements like pointed ears and insect wings. This is a great class to learn and apply classical rules of composi-tion, proportion, perspective, and light.t1303 $195

Julie Baroh has 18 years of illustration experience, ranging from trading card games (such as Magic: the Gathering) to magazines and books. She has recently been a featured artist in Fae Nation magazine. Julie holds a BFA from Cornish College of the Arts, has trained with Tenaya Sims in classical drawing tech-niques, and is a resident artist at Krab Jab Studio.

teen Classes: tuesdays & saturdays ages 13 – 17

Sarah Bixler Alisha Dall’Osto Julie Baroh

GaGe@InGraham FiGurE Studio: opaquE watErCoLor portraiturESarah BixlerAges 13-17 Tuesdays 3:30pm-5:00pm 2/5 – 3/26 [8 sessions]

Paint colorful accurate portraits with an old-school classical material: gouache! You will learn how to set up your palette and mix vibrant, accurate colors in response to your ob-servations. Short mixed media exercises and longer studies will challenge you to look for color shapes and relationships while honing your sense of proportion. You will examine contemporary and historical paintings, and draw inspiration for your own work!t1303 $195

Sarah Bixler

opEn to aLL north End hiGh SChooL StudEntS!


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teen artists ages 13-18 — drop in to study with professional artists who provide focused instruction in a fun, relaxed atmosphere. All art materials provided. FREE

Ages 13-18

youth arts

Celeste Cooning

Jeanne Dodds

Madeline Crowley

Summer 2012 was a busy time for young artists at Gage. View more photos at Facebook.com/gageteens, and look for the Summer 2013 Youth Catalog coming in March 2013.

facebook.com/gageteens @gageteens

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CaPITOL hILL Fridays 6:30pm-9:30pm1501 Tenth avenue eastgage academy of art FREE

JanuarySCiEntiFiC iLLuStrationJeanne DoddsBuild unique and personalized drawings based off of traditional scientifi c illustration techniques! You will draw inspiration from nature and a variety of art historical sources, fi nishing with unique drawn or painted im-ages. Learn how to work with colored pencil, watercolor, oil pastels and other drawing media individually or in combination. Com-municate an inspirational visual narrative through storytelling and imagery!

FEbruaryCut it out!Celeste CooningExplore your artistic process through cut pa-per in both two and three dimensions! Begin with collage, work towards bas-relief con-struction, and fi nally, learn how to transform paper into sculptural forms. You’ll also learn the various traditions of cut paper in other cultures and contemporary practices across the globe as you go, expanding the scope of your individual expression!

marChSkEtChbook art JournaLSMadeline CrowleyExplore who you are and who you want to be! You’ll use sketch-book journals and fi ll them with drawings, collage and mixed me-dia. Discover how artists in history have cre-ated and used sketchbook art journals while using your own images and text/written stories, creating self-portraits, metaphors, maps, dreams and memories. You’ll build images and concepts to defi ne and refi ne a sense of yourself in your own journal pages.

Ages 13-18

Mandy Hallenius

Jethaniel Peterka

Nate Herth, detail

raInIer VaLLeY Saturdays 6:30pm-9:30pm2100 24th avenue South, Treehouse Building FREE

JanuaryiLLuSion and pErSpECtiVEMandy halleniusLearn to create the illusion of space by un-derstanding the rules of perspective. In this class, you will create imaginary spaces and study existing spaces along with the history of perspective. Projects will include drawing a room from imagination, fi nding accurate perspective in an already existing space, creating illusions that are physically impos-sible, and designing a variety of architectural elements in perspective.

FEbruaryStranGE & CuriouS StiLL LiFESJethaniel PeterkaLearn to draw like the old masters by using traditional drawing techniques with graphite and charcoal, and at the same time have fun drawing strange and curious objects! You’ll draw inspiration from doll heads, specimens in jars, old machine parts, and anything and everything you might fi nd in your own closets, grandma’s attic, thrift stores, and antique shops.

marChCitiES, StormS & arChitECturENate herthCreate dynamic drawings and paintings that contrast the random movement and force of weather with the organized geometric and architectural patterns of cities. Learn to use perspective to create distance, washes of shadow to build up storm systems, and infuse movement into your composition by working quickly in layers. For inspiration we will look at the world’s modern cities and extreme weather events that have put them to the test.

“I come to TAS because it’s fun. I get tons of practice and the teachers are amazing. All of the classes I have taken here have made me a better artist through encouragement, expectations, and thoughtful practice.”

— Rachel lam, 15

mitChELL aLbaLaBA-Queens College, NY. Training: Gage Academy of Art. Taught Seattle Art Museum, WA; Seattle Central Community College, WA. Exhibitions: New York; Seattle; Washington, DC. Representa-tion: Lisa Harris Gallery, WA. Author: Landscape Painting, Essential Concepts and Techniques for Plein Air and Studio Practice.

JuLiEttE ariStidESTraining: Barnstone Studio, PA; Pennsylvania Academy of the Fine Arts, PA; The Atelier, MN; Water Street Atelier, NY. Representation: John Pence Gallery, CA; Le Quire Gallery, TN; Wendt Gallery, NY. Author: Classical Painting Atelier, Clas-sical Drawing Atelier, Lessons in Classical Drawing.

SuZannE brookErMFA-California State University at Long Beach, CA; BFA-California Institute of the Arts, CA; Whitney Museum Independent Study Program, NY. Author: Portrait Painting Atelier: Old Master Techniques and Contemporary Applications.

aLan CarroLL, Guest Teaching ArtistTraining: Pierre Finkelstein (Grand Illusion). Busi-nesses: Decorative Imaging, Inc. Clients: Woody Allen, Paul Simon, Oprah Winfrey, and Saks Fifth Avenue Stores. Publications: Architectural Digest, the New York Times, Fine Woodworking, and others.

LarinE ChunGBFA-Chinese University of Hong Kong. Training: Gage Classical Atelier, WA. Taught: Whidbey Island Fine Art Studio, WA. Exhibitions: Grey Gallery, WA. Representation: The Fountainhead Gallery, WA. Awards: First Place in Still-Life, 2010 Best of Gage; First Prize, 2008 Gage Self-Portrait Competition.

marGarEt daVidSonMFA-University of Washington, WA. BFA-Univer-sity of Michigan, MI. Taught: Pratt Fine Arts Cen-ter, WA; Cornish College of the Arts, WA; Indiana State University, IN; University of Washington, WA. Representation: SAM Gallery, WA; Edison Eye Gallery, WA. Author: Contemporary Drawing, Key Concepts and Techniques.

EriC ELLiottMFA-University of Washington, WA; BA-Uni-versity of California, CA. Taught: University of Washington, WA; Highline Community College, WA. Recipient: 2009 Neddy Fellowship; Kayla Skinner Special Recognition Award; Artist Trust GAP Grant; James Phalen Art Scholarship; Maybelle Toombs Art Scholarship. Exhibitions: Tacoma Art Museum, WA; James Harris Gallery, WA; Soil Gallery, WA; Catherine Person Gallery, WA. Representation: James Harris Gallery, WA.

CharLES EmErSonMFA-Yale University, CT; Graduate Studies: Boston University, MA; BFA-University of South-ern California, CA. Fulbright Scholar in Venice, Italy. Artist in Residence at La Jolla Museum of Contemporary Art. Publication: The Art of Draw-ing by Bernard Chaet. Exhibitions include Sisko Gallery, WA.

biLL EVanSBA Architecture-University of Washington, WA. Taught: Cornish College of the Arts, WA; Pot-tery Northwest, WA. Exhibitions: Art Stop, WA; Kebanu Gallery, OR; Allied Arts Invitational, WA; Fountainhead Gallery, WA; Frye Art Museum, WA. Awards: 2004 Best in Show at Washington Potters Association Show; WCA Juror’s Award at 2008 Art Stop. Representation: Sisko Gallery, WA.

Gary FaiGinTraining: Art Students League, NY; Ecole des Beaux-Arts, France. Taught: Art Students League, NY; New York Academy of Art, NY. Cofounder & Artistic Director, Gage Academy of Art. Art critic, KUOW public radio, WA. Exhibi-tions: Frye Art Museum, WA; Woodside/Braseth Gallery, WA; Tacoma Art Museum, WA; Coos Art Museum, OR. Representation: Linda Hodges Gal-lery, WA. Author: Artists’ Complete Guide to Facial Expression.

GEoFF FLaCkMFA-New York Academy of Art, NY; BFA-Colorado State University, CO. Exhibitions: Minor Gallery, WA; Phillips De Pury & Company, NY; New York Academy of Art, NY.

barbara FuGatEMFA Painting-Miami University of Ohio, OH. Taught: Seattle Art Museum, WA; Seattle Pacifi c University, WA; Troy Art Center, NY; Western Ken-tucky University, KY. Exhibitions: ArtSpace, WA; Bellevue Art Museum, WA; Fountainhead Gallery, WA; Martin-Zambito Gallery, WA. Publication: The Best of Sketching and Drawing.

tErry FurChGottBA-Radcliffe College, MA. Training: Camden Arts Center, England. Awards: Artist Trust Fellow-ship, King County Arts Commission, WA State Arts Commission. Numerous public art murals. Representation: Lisa Harris Gallery, WA.

aron hartTraining: Kang-O’Higgins Atelier, WA. Exhibitions: Up Front Gallery, WA; Semantics Art Gallery, WA; Flatcolor Gallery, WA; Art/Not Terminal Gallery, WA; Colombia City Gallery. Awards: First Place, Burien Arts Juried Exhibition (2010), First Place, Drawing, Edmonds Arts Festival (2011); First Place, Portraiture, Best of Gage (2011); Third Place, Painting, Edmonds Arts Festival (2012).

Gage instructors are working artists chosen for their depth of technical knowledge, artistic curiosity, and generosity of spirit in the studio. Find artist statements, teaching philosophies and extended biographies of Gage teaching artists online

at GageAcademy.org/artists.

CaroL hEndriCkS, LecturerMA-Art History & Fine Arts Administration, Temple University, PA. Taught: Northwestern University, WA; Gage Academy of Art, WA; Bel-levue College, WA. Gage Academy of Art Adult Programs Manager since 2005.

tom hoFFmannMA-Art Education, University of London Institute of Education, England; BFA-Amherst College, MA. Hoffmann has taught extensively nationally and locally. Exhibitions: Frye Art Museum, WA; Seattle Art Museum, WA; Tacoma Art Museum, WA. Representation: Fountainhead Gallery, WA. Author: Watercolor Painting: A Comprehensive Approach to Mastering the Medium.

mark kanG-o’hiGGinSMFA-New York Academy of Art, NY; MA-University College Galway, Ireland. Training: Edinburgh College of Art, Scotland. Exhibi-tions: Columbia University, NY; New York Public Library, NY; SAM Gallery, WA; Linda Hodges Gallery, WA.

miChaEL LanE Education: Samuel Fleisher Art Memorial, PA; The Pennsylvania Academy of the Fine Arts, PA; mentored by Nelson Shanks. Taught: Moore Col-lege of Art and Design, PA; Mural Arts Program, City of Philadelphia, PA. Exhibitions: Vain Gallery, WA; Form/Space Atelier, WA; Artists’ House Gallery, PA.

GEoFFrEy LaurEnCE, Guest Teaching ArtistMFA-New York Academy of Art, NY. Training: Byam Shaw School of Art, England; London College of Printing, UK. Taught: Los Angeles Academy of Figurative Art, CA; Andreeva Portrait Academy, NM. Exhibitions: Skotia Gallery, NM; LewAllen Contemporary, NM; Forbes Galleries, NY. Representation: 101/Exhibit, FL; John Pence Gallery, CA.

annE LEwiS, Guest Teaching ArtistBA-Fine Arts, University of Puget Sound, WA; Graduate Studies: Pacifi c Oaks, WA. Training: School of Visual Concepts, WA; Pratt Fine Arts Center, WA; University of New Mexico, NM. Taught: Pratt Fine Arts Center, WA; Bellevue Arts Museum, WA; Tacoma Art Museum, WA. Publica-tion: Mixed Media Collage.

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kathy LiaoBFA-University of Washington, WA; MFA-Boston University, MA. Taught: Boston University, MA, Grand Image, Ltd., WA, Wing Luke Asian Museum, WA. Exhibitions: Fuel, WA, Commonwealth Gallery, MA, La Familia Gallery, WA, Seattle Art Museum Gallery, WA, Jacob Lawrence Gallery, WA.

patriCk Lo CiCEro, Guest Teaching ArtistMFA-The San Francisco Art Institute, CA; BFA-The Ohio State University, OH. Taught: University of Washington, WA; Cornish College of the Arts, WA. Exhibitions: Linda Hodges Gallery, WA; Seattle Art Museum, WA; Sue Greenwood Fine Art, CA; United States Embassy, country of Georgia. Commissions and Collections around the United States.

CarLoS madrid, Guest Teaching ArtistTraining; Florence Academy of Art, Italy; Odd Nerdrum, Norway; L’Ecole Albert Defois, France; The New York Academy of Figurative Art, NY; The Art Students League of New York, NY; Parsons School of Design, NY. Exhibitions: Galleri 27, Norway; Soli Brug Galleri, Norway; Kjell Raugland, Norway; The Nicholas Roerich Museum, NY. Representation: W.H. Patterson, London, England.

miChaEL maGrathMFA Sculpture and Public Art-University of Washington, WA. Training: Florence Academy of Art, Italy. Taught: Reed College, OR; Sculpture Academy of London, United Kingdom; University of Washington, WA. Public and private commis-sions: UW Medal of Honor Memorial; Microsoft; Dwayne Clarke Residence. Awards: IFRAA Best Sculpture Award, GAP Award, 4Culture, Art Renewal Center Best Sculpture 2009.

kathLEEn mCkEEhEnTraining: Natural Science Illustration-University of California, Santa Cruz, CA; Freelance: Organic Gardening, The Herb Companion, Gardener’s Companion. Member: American Society of Botanical Artists; Guild of Natural Science Il-lustrators; Society of Children’s Book Writers and Illustrators.

annE pEttyMFA-Painting & Drawing, University of Wash-ington, WA; BFA-Drawing & Painting, Missouri State University, MO. Taught: University of Washington, WA. Exhibitions: Sandpoint Gallery, WA; SAM Gallery, WA; Henry Art Gallery, WA; Jacob Lawrence Gallery, WA. Awards: University of Washington de Cilia Teaching in Excellence Award, WA.

SuSan bari priCEBS Visual Design-University of Oregon, OR. Training: Gage Classical Atelier, WA; Exhibitions: Collective V. Sims Gallery, WA; Redmond City Hall, WA; Grenning Gallery, NY. Representation: Atlanta Art Gallery, GA.

JuLia riCkEttSBFA-New York State College of Ceramics at Al-fred University, NY. Taught: Kirkland Arts Center, WA; Pilchuck School of Glass, WA; Pratt Fine Arts Center, WA. Solo Exhibitions: Alysia Duckler Gal-lery, OR; Friesen Gallery, ID; Fulcrum Gallery, WA; Representation: Patricia Cameron Gallery, WA.

Vonn SumnErMFA-University of California, Davis; BA-Univer-sity of California, Davis. Exhibitions: Merry Kar-nowsky Gallery, CA; Phillips Museum of Art, PA; Paul Thiebaud Gallery, CA; Northern California Center for the Arts, CA; Tahoe Tallax Association, NV. Publications: The Washington Post, Poets and Artists magazine, The Huffi ngton Post, Artweek LA, Juxtapoz.

tip toLandMFA & BFA Ceramics-Montana State University, MT. Taught: Seward Park Art Studio, WA; Pottery Northwest, WA; University of Washington, WA. Exhibitions: Bellevue Art Museum, WA; Pacini Lubel Gallery, WA; Tacoma Art Museum, WA; Nancy Margolis Gallery, NY. Awards: First Place, Virginia A. Groot Foundation, 2004; Artist Trust Award, 2007; Jean Griffi th Fellowship Artist Award, 2009.

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Michael Magrath

kimbErLy trowbridGEMFA-Painting, University of Washington, WA; BFA-Painting/BA English Literature, Indiana Uni-versity, IN. Exhibitions: Grey Gallery, WA; Ouch My Eye, WA; Crawl Space Gallery, WA; The Kinsey Institute, IN; University Alumni House, WA; MFA Thesis Exhibition, Henry Art Gallery, WA; Jacob Lawrence Gallery, WA.

mELiSSa wEinmanMFA-2-D Media, University of Southern Califor-nia, CA. Taught: University of Puget Sound (Art Department Chair), WA; University of Maryland, MD; University of Richmond, VA. Exhibitions: Kittredge Gallery, WA; Wesleyan Theological Seminary, Washington, D.C.; Seattle Pacifi c Uni-versity, WA; Frye Art Museum, WA; Linda Hodges Gallery, WA.

katrina woLFETraining: Florence Academy of Art, Italy; Gage Academy of Art, WA. Exhibitions: 619 Gallery, WA; Georgetown Arts Center, WA. Awards: 2nd Place Sculpture, 2007 & 2011, Best of Gage. Competitor: 2009 National Figure Modeling Competition, NY.

hamid ZaVarEEiBS-West Virginia Institute of Technology, VA. Taught: Seattle Pacifi c University, WA; Kirkland Art Center, WA. Exhibitions: William Traver Gal-lery, WA; Gallery Bershad, MA; SAM Gallery, WA; Fountainhead Gallery, WA; Carnegie Art Museum, CA; Palos Verdes Art Center, CA. Residency: Lantern of the East Art Camp, South Korea. Representation: Linda Warren Gallery, IL.

staff*Pamela Belyea x13Executive Director

Gary Faigin x13 Artistic Director

Sharon Arnold x17Youth Programs Manager

Alison M. Dawson x12Development Director

Sam Hamrick x20Facility Manager

Carol Hendricks x15Adult Program Manager

Lee Humason x19Operations Director

Tara Jaiyeola x10Co-Registrar

206.323.GaGe

Susan Jones x11Web Editor

Margaretta Lantz x32Executive Assistant

Shelly Leavens x18Curator/Public Events

Mark R. Livingston x11Communications Director

Kathleen Moore x16Fundraising Manager

Tali Rausch x12Grant Writer

Ani Rucki x14Graphic Designer

Ashley Shumaker x10Co-Registrar

*staff email = first name + @GageAcademy.org

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Weekend WorkshopsWW1301 Fig in Int Ptg with Acrylics Int/Adv Furchgott Fri-Sun 1/4-1/6 9:30am-4:30pm p. 9WW1302 The Painted Portrait Sketch All Lane Fri-Sun 1/4-1/6 9:30am-4:30pm p. 9WW1303 Learning to Sketch, Sculpt & See All Evans Sat-Sun 1/5-1/6 9:30am-4:30pm p. 9WW1304 Mixed-Media Painting All Zavareei Sat-Sun 1/12-1/13 9:30am-4:30pm p. 9WW1305 Portrait Anatomy All Lane Sat-Sun 1/12-1/13 9:30am-4:30pm p. 9WW1306 Pinecones in Watercolor All McKeehen Sat-Sun 2/9-2/10 9:30am-4:30pm p. 9WW1307 Crash Course in Composition All Lewis Sat 2/16 9:30am-4:30pm p. 9WW1308 Painting the Produce Section in Wcolor All McKeehen Sat-Sun 3/3-3/4 9:30am-4:30pm p. 9WW1309 Mixed Media Image Layering All Lo Cicero Sat-Sun 3/16-3/17 9:30am-4:30pm p. 9WW1310 Crash Course in Composition All Lewis Sat 3/23 9:30am-4:30pm p. 9

Winter WorkshopsWA1217 Illusionistic Painting in Grisaille Int Carroll Mon-Fri 12/3-12/7 9:30am-4:30pm p. 10WA1301 Wcolor: Balancing Spontaneity . . . Int/Adv Hoffmann Mon-Fri 1/7-1/1 9:30am-4:30pm p. 10WA1302 Portrait Painting in Oil Int/Adv Weinman Mon-Fri 1/7-1/11 9:30am-4:30pm p. 10WA1303 Fig Ptg in the Renaissance Tradition Int/Adv Laurence Mon-Sat 1/7-1/12 9:30am-4:30pm p. 10

spring WorkshopsWA1304 Portrait Drawing All Faigin Mon-Fri 3/25-3/29 9:30am-4:30pm p. 11WA1305 TMCSystem: The Munsell Color System Int/Adv Madrid Mon-Fri 3/25-3/29 9:30am-4:30pm p. 11WA1306 TMCSystem: Still-Life Painting Int/Adv Madrid Mon-Fri 4/1-4/5 9:30am-4:30pm p. 11

open studiosST1301 Drop-In Figure Studios: Winter Break All n/a varies 11/26-1/13 see p. 13 for times p. 13ST1301 Drop-In Figure Studios: Winter Quarter All n/a varies 1/14-3/24 see p. 13 for times p. 13ST1302 Reserved Studio / Dwg & Ptg All n/a Monday 1/14-3/18 6:30pm-9:30pm p. 13ST1303 Reserved Studio / Sculpting All n/a Thursday 1/17-3/21 6:30pm-9:30pm p. 13ST1304 Reserved Studio / Dwg & Ptg All n/a Friday 1/18-3/22 9:30am-12:30pm p. 13ST1305 Reserved Studio / Dwg & Ptg All n/a Friday 1/18-3/22 6:30pm-9:30pm p. 13ST1306 Reserved Studio / Sculpting All n/a Sunday 1/20-3/24 10:00am-1:00pm p. 13

lecture seriesL1301 Anatomy for the Artist All Magrath Thursday 1/24-3/14 7:00pm-8:30pm p. 14L1302 Painters of the Baroque All Hendricks Wednesday 2/6-2/27 7:00pm-8:30pm p. 14ATR1304 Treasures of Kenwood House @ SAM All Faigin Wednesday 3/20 or 4/24 3:00pm-4:30pm p. 14

Drawing Classes: beginningD1301 Cast Drawing All Price Monday 1/14-3/18 9:30am-12:30pm p. 15D1302 Design Concepts for Artists All Trowbridge Monday 1/14-3/18 1:30pm-4:30pm p. 15D1303 Beginning Color Harmony Int Davidson Tuesday 1/15-3/19 1:30pm-4:30pm p. 15D1304 Perspective Drawing All Lane Tuesday 1/15-3/19 1:30pm-4:30pm p. 15D1305 Beginning Figure Drawing Beg Sumner Tuesday 1/15-3/19 6:30pm-9:30pm p. 15D1306 Landscape Drawing All Brooker Wednesday 1/16-3/20 9:30am-12:30pm p. 15D1307 Perspective Drawing All Lane Wednesday 1/16-3/20 6:30pm-9:30pm p. 15D1308 Composition All Davidson Thursday 1/17-3/21 1:30pm-4:30pm p. 16D1309 Drawing for Beginners Beg Hart Thursday 1/17-3/21 1:30pm-4:30pm p. 16D1310 Botanical Drawing All McKeehen Friday 1/18-3/22 9:30am-12:30pm p. 16D1311 Pen and Ink Drawing All Elliott Friday 1/18-3/22 9:30am-12:30pm p. 16D1312 Beginning Portrait Drawing Beg Elliott Friday 1/18-3/22 1:30pm-4:30pm p. 16D1313 Portrait Drawing All Lane Friday 1/18-3/22 6:30pm-9:30pm p. 16

Drawing Classes: intermediateD1314 Foundation Figure Drawing II Int Flack Mon/Wed 1/14-3/20 1:30pm-4:30pm p. 17D1315 Foundation Drawing II Int Furchgott Tues/Thurs 1/15-3/21 varies p. 17D1316 Foundation Drawing II Int Davidson Tues/Thurs 1/15-3/21 6:30pm-9:30pm p. 17D1317 Mixed-Media Figure Drawing Int Fugate Wednesday 1/16-3/20 6:30pm-9:30pm p. 17D1318 Contemporary Figure Drawing Int Trowbridge Thursday 1/17-3/21 9:30am-12:30pm p. 17D1319 Intermediate Figure Drawing Int Sumner Thursday 1/17-3/21 6:30pm-9:30pm p. 17 D1320 Figure & Portrait Drawing Int Weinman Saturday 1/19-2/16 10:00am-4:30pm p. 17

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Drawing Classes: advancedD1321 Advanced Figure Drawing Adv Liao Tuesday 1/15-3/19 1:30pm-4:30pm p. 17

painting Classes: beginningP1301 Portraits in Watercolor All Zavareei Monday 1/14-3/18 1:30pm-4:30pm p. 18P1302 Figure Painting in Oil All Petty Tuesday 1/15-3/19 9:30am-12:30pm p. 18P1303 Beginning Portrait Painting All Hart Tuesday 1/15-3/19 6:30pm-9:30pm p. 18P1304 Pastel Portrait Painting All Furchgott Tuesday 1/15-3/19 6:30pm-9:30pm p. 18P1305 Beginning Watercolor Beg Hoffmann Wednesday 1/16-3/20 9:30am-12:30pm p. 18P1306 Flemish Tech of the Old Masters All Zavareei Wednesday 1/16-3/20 6:30pm-9:30pm p. 18P1307 Portrait Painting: Faces of Youth All Brooker Wednesday 1/16-3/20 6:30pm-9:30pm p. 18P1308 Figure Painting in Oil All Liao Wednesday 1/16-3/20 6:30pm-9:30pm p. 19P1309 Lscape Ptg in Oils: Water Reflections All Brooker Thursday 1/17-3/21 9:30am-12:30pm p. 19P1310 Color for Painters All Trowbridge Thursday 1/17-3/21 1:30pm-4:30pm p. 19P1311 Language of Paint: Beginning Oil Ptg Beg Brooker Thursday 1/17-3/21 6:30pm-9:30pm p. 19P1312 Beginning Oil Painting Beg Albala Friday 1/18-3/22 1:30pm-4:30pm p. 19P1313 Painting Nature in Watercolor All McKeehen Friday 1/18-3/22 1:30pm-4:30pm p. 19P1314 Portrait Painting in Oil All Lane Saturday 1/19-2/16 10:00am-1:00pm p. 19P1315 Encaustic Painting All Zavareei Saturday 1/19-2/16 2:00pm-5:00pm p. 19P1316 Abstract Painting I All Ricketts Sunday 1/20-3/24 10:00am-1:00pm p. 20P1317 Beginning Oil Painting Beg Chung Sunday 1/20-3/24 2:00pm-5:00pm p. 20

painting Classes: intermediateP1318 Figures in Context: Color with Oils Int Trowbridge Monday 1/14-3/18 9:30am-12:30pm p. 20P1319 Int Fig Painting with Acrylics Int Furchgott Monday 1/14-3/18 6:30pm-9:30pm p. 20P1320 Foundation Fig Ptg: Head, Hands, Feet Int Petty Mon/Weds 1/14-3/20 9:30am-12:30pm p. 20P1321 Foundation Still-Life Painting II Int Price Mon/Weds 1/14-3/20 1:30pm-4:30pm p. 20P1322 Expressive Coloristic Figure Painting II Int Emerson Tuesday 1/15-3/19 9:30am-12:30pm p. 20P1323 Color and Light in Still-Life Int Price Wednesday 1/16-3/20 9:30am-12:30pm p. 21P1324 Intermediate Watercolor Int Hoffmann Wednesday 1/16-3/20 1:30pm-4:30pm p. 21P1325 Matisse and Morandi Int Emerson Thursday 1/17-3/21 9:30am-12:30pm p. 21P1326 Figure Painting: Color & Composition Int Fugate Thursday 1/17-3/21 6:30pm-9:30pm p. 21P1327 Portrait Painting Studio Int Lane Saturday 1/19-3/23 2:00pm-5:00pm p. 21P1327 Contemporary Painting Seminar Int Ricketts Sunday 1/20-3/24 2:00pm-5:00pm p. 21

painting Classes: advancedP1329 Advanced Watercolor Adv Hoffmann Tuesday 1/15-3/19 9:30am-12:30pm p. 21

sculpting ClassesS1301 Figure Sculpture All Wolfe Monday 1/14-3/18 9:30am-12:30pm p. 22S1302 Nuanced Facial Expression All Toland Tuesday 1/15-3/19 9:30am-12:30pm p. 22S1303 Foundation Figure Sculpture II Int Magrath Tues/Thus 1/15-3/21 1:30pm-4:30pm p. 22S1304 Figure Sculpting Studio All Magrath Tuesday 1/15-3/19 6:30pm-9:30pm p. 22S1305 Multi Media Sculpture All Evans Wednesday 1/16-3/20 9:30am-12:30pm p. 22S1306 Figure Sculpture: Form and Balance Int Evans Friday 1/18-3/22 9:30am-12:30pm p. 22S1307 Figure Sculpture All Wolfe Saturday 1/19-3/23 10:00am-1:00pm p. 22

ateliersAT1301 Aristides Atelier All Aristides Mon-Fri 1/7-3/22 9:30am-4:30pm p. 23AT1302 Kang-O’Higgins Atelier All Kang-O’Higgins Mon-Fri 1/7-3/22 9:30am-4:30pm p. 23AT1303 Faigin Atelier All Faigin varies 1/7-3/22 varies p. 23

youth ClassesK1301 Exploring Watercolors All Heath Saturday 1/5-1/26 10:00am-noon p. 24K1302 Collage Portraiture All Hallenius Saturday 2/2-2/23 10:00am-noon p. 24K1303 Mythical Animals in Print All Chamberlain Saturday 3/9-3/30 10:00am-noon p. 24T1301 The Clothed Figure All Bixler Mon/Sat 1/5-1/29 see p. 25 for times p. 25T1302 Science of Color All Dall’Osto Mon/Sat 2/5-3/2 see p. 25 for times p. 25T1303 Realistic Fantasy Illustration All Baroh Mon/Sat 3/5-3/30 see p. 25 for times p. 25

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registration begins on november 12 — programs do sell out, so enroll online early to reserve your place!


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Student information

FaCiLityGage is located in the St. Nicholas school building, 1501 Tenth Avenue East beside St. Mark’s Cathe-dral on North Capitol Hill. The Gage main entrance is on the south end of the building. Please contact Gage staff regarding ADA accommodations.

buiLdinG & oFFiCE hourSoffi ce hours: Mon-Fri: 9:30am-4:30pmBuilding hours: Weekday Hours: 8:30am-10:00pmSaturday Hours: 9:00am-6:00pmSunday Hours: 10:00am-6:00pmThe Belyea Library and galleries are open at all times the building is open.

parkinGFree parking is available weekdays along the south wall of the St. Nicholas building and behind St. Mark’s Cathedral. For evening and weekend programs, students are invited to park behind the St. Nicholas building, as well.

tranSportationGage is located east of I-5, south of 520 and four blocks north of Broadway on Capitol Hill. For public transportation, take Metro bus line 49. For driving directions, visit GageAcademy.org/aboutus.

tuition diSCountS/SChoLarShipSArtists age 25 or younger receive a 25% discount off adult classes and workshops. Eligible profes-sional artists and K-12 educators are invited to enroll in classes and workshops with a 50% tu-ition discount on a stand-by basis. Call to register using a discount or to inquire about scholarship opportunities.

ChiLd CarEWhirlwinds Childcare is located at 1310 Mercer St., just over a mile from Gage. Whirlwinds provides four-hour, drop-in child care services, Monday through Friday. Visit their website at whirlwindskids.com.

art SuppLiESClass and workshop materials lists are posted on the web. Students may also request that a copy be faxed or mailed. Adult students provide all art supplies and should expect to pay $50 or more to purchase the required materials. Gage provides odorless solvents for all oil-painting programs. Gage does not allow the use of Liquin or any other highly toxic mediums in the studios. Gage Youth Programs include all art supplies.

notiCE oF nondiSCriminationGage does not discriminate on the basis of race, color, nationality, gender identity, sexual orientation, ability, age, religion or ethnic origin in administration of its educational and admissions policies, scholarships and any school-administered programs.

FrEE wiFiFree wireless internet is available on all three fl oors of the school.

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St. Marks Cathedral

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1501 Tenth Ave E

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BELLEVUE STORE 15112 NE 24th St.

(425) 643-1781

SEATTLE STORE 4150 First Ave. S. (206) 223-9599

800-426-6740 • danielsmith.com

The Northwest’s Largest selection of art supplies—over 18,000 items for the artist

Artists’ Materials

Ask for Your FREE ArtSmart CardGage Students and Instructors Save Everyday!

1124 Pike Street • Seattle, WA 98101 • (206) 382-9696

Utrecht is Your Art Supply Store on Capitol Hill!

SAVE 40% OFFList Prices Everyday

UPTO

( just 1/2 mile from Gage on Pike & Minor)

BELLEVUE STORE15112 NE 24th St.

(425) 643-1781

SEATTLE STORE4150 First Ave. S. (206) 223-9599

800-426-6740 • danielsmith.com

2000 NW MARKET STREET206.523.4830 ~ WWW.DAKOTAARTSTORES.COM

NOW IN BALLARD!

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registration

Norman Archibald Charitable Foundation • The Baltimore Foundation • Boeing Gift Matching Program Gates Foundation Matching Gift Program • Microsoft Matching Gift Foundation Seattle Foundation — Donor Advised Funds • Jon and Mary Shirley Foundation

The Stanley R. & Robert E. Wright Foundation For The Arts • Robert T. & Tina Ing Yahng Foundation

Sponsorship logo standards

The Wells Fargo logo appears in Wells Fargo red and Wells Fargo yellow. Use the black 1-color version only for one- or two-color (black plus one color) applications such as newspaper advertising or forms.

Preferred

CMYK logo

1-Color100% Black

Print logo colors

Our logo colors must appear exactly the same every time they are used. On printed materials, Wells Fargo logo colors — Wells Fargo Red and Wells Fargo Yellow — must always match their CMYK formula respectively, whether printing on coated or uncoated stock. Never substitute other colors. This is especially important since certain paper stocks and different types of media may alter the way a color looks when reproduced. For this reason, a color check while the job is on press or in final production is essential. Drawdowns are strongly recommended in all cases. For print jobs requiring spot color pages, special spot ink formulas are provided from the Brand Management Team at [email protected].

Wells Fargo red:C: 10 M: 100 Y: 80 K: 20

Wells Fargo yellow:C: 0 M: 20 Y: 100 K: 0

Online logo colors

Below are the online color values of Wells Fargo red and Wells Fargo yellow.

Wells Fargo Red:R: 187 G: 8 B: 38 HEX: BB0826

Wells Fargo Yellow:R: 252 G: 198 B: 10 HEX: FCC60A

Clearspace and size

Clearspace frames the logo, separating it from other elements such as headlines, text, imagery, and the outside edge of printed materials.

Always leave the minimum amount of clearspace around the logo to maximize impact. In print, the preferred clearspace is half the height or width of the logo on each side. The absolute minimum clearspace requirement is a quarter of the height or width of the logo on each side. Online, the logo clearspace requirement is at least 10 pixels.

Phone 206.323.GaGe(4243) x10or 800.880.3898

or

FaX completed form to 206.526.5153

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gage accepts Visa, Mastercard and american express as well as checks or cash. Note: There is a $12 nonrefundable registration fee for each registration, regardless of number of programs booked. Registration fee is waived for ateliers, lecture series and open studio passes.

Winter 2013 registration begins monday, november 12, 2012. three ways to register:

CLaSS and wEEkEnd workShop CanCELLation tErmSProgram cancelled by Gage: 100% refund of all fees

Cancel more than three business days before program start date: Partial refundt

Cancel three business days or fewer before program start date: Tuition creditt

Cancel on or after first session date, but before second session date: Prorated tuition creditt*

Cancel on or after date of second session: 0% refund

t$25 deposit will be withheld from your nontransferable tuition credit or refund. Tuition credits are nontransferable and must be used within one year. *Prorated credit not available for weekend workshops.

wEEkLonG workShop CanCELLation tErmSWorkshop cancelled by the Academy: 100% refund of all fees

Cancel more than four weeks before workshop start date: Partial refundtt

Cancel four weeks or fewer, but more than five business daysbefore workshop start date: Tuition credittt

Cancel five business days or fewer before workshop start date: 0% refund tt$75 deposit will be withheld from your tuition refund or nontransferable tuition credit. Tuition credits are non-transferable and must be used within one year.

financial termsrEGiStration dEpoSitTo guarantee your place in a gage class, please fill in the registration form and submit either full payment or a deposit of one half the tuition of the program. Students registering with a deposit must fill out the credit card information and will be automatically charged the balance 35 days later. Please note that this does not apply for youth Programs; all youth Programs must be paid in full at time of registration.

paymEnt pLanadditionally, a payment plan is available for any gage classes or workshops with tuition fees of $500 or more. all payment plan registrations include an additional $25 bookkeeping fee per program. all pay-ment plan payments must be made on your credit card and begin with an initial $250 payment followed by payments of $200 per month until paid in full. your online registration indicates your agreement with these terms. For information on payment- plan terms for atelier registrations, please refer to your Student Contract.

rEGiStration FEEStudents are required to pay a $12 non-refundable registration fee per registration, regardless of number of programs booked. exemption: lecture series, drop-in studio passes and continuing atelier students.

CanCELLation dEtaiLSStudents who wish to cancel their place in a program must notify the gage office by telephone or email to qualify for tuition refund or tuition credit. Tuition credits must be applied toward gage programs within one year and are available on a stand-by basis only. all tuition credits are nontransferable. See atelier and Student contract for cancellation terms.

student ContractSubmission of your registration constitutes acceptance of all terms and conditions stated in this catalog and agreement that Gage Academy of Art (Gage) cannot be held responsible or liable for any act or for any injury, illness, death, damage, loss, accident, delay or irregularity which may occur during the course of any program. Gage assumes no responsibility for losses or additional expenses due to influences beyond its control. Personal effects, artwork and art supplies are students’ sole responsibility at all times. Gage reserves the right to cancel any program in which case it is liable only for any fees paid to Gage Academy of Art. Gage reserves the right to reschedule any program or replace any instructor without refund. Gage reserves the unconditional right to terminate enrollment in the event of unreasonable or disruptive conduct or failing to follow Gage’s student policies and rules; and Gage may do so without any refund. No refund will be made for early departure or deviation from the Gage schedule and program registration shall be non-transferable. Publicity waiver: Unless informed otherwise, Gage considers photographs taken of students and their artwork to be permissible for publication in Gage informational materials, including the web.

Download a registration form at gageacademy.org/adult and mail to: Gage academy of art 1501 tenth avenue eastseattle, Wa 98102

SIMPLY DESSERTS

M A R K & S U S A N T O R R A N C EF O U N D A T I O N

Gage, a not-for-profit institution, relies on support from the following generous organizations and foundations. discover more ways to support Gage. Contact alison dawson, development director, at [email protected].

Classical Training for Contemporary Artists

Jane White, 16, created this study during the

2012 portfolio intensive, a fi ve-week program

led by teaching artists Tenaya Sims and Kimberly

Trowbridge. In recognition of her achievement,

dedication, and growth during this rigorous

program, she was granted the annual Utrecht

Art Supply Award. Read more about her, and

the portfolio intensive for young artists,

inside the front cover.

look for the summer youth CataloG, CominG in marCh 2013!

SUmmer YOUTh PrOGramS@GaGe

this holiDay, Give the Gift of GaGe! What better way to celebrate the season

than to give a gift certifi cate which may be applied for any gage class,

workshop, or art tour.

To purchase, visit gageacademy.org, or call Kathleen at 206.323.4243 x16.

1501 Tenth avenue eastSeattle Wa 98102

206.323.gage (4243)800.880.3898gageacademy.org

Gage Winter 2013 Catalog

Documents

wacover artist

gage youth programs

exhibitions7 artist

art teacher

jane whitegage teen

youth arts

teaching artists

teen art studios