
8 Sunday Afternoons, 1:30-4:30
April 5 to May 24
$440
DISCOUNT PRICE for Enrolled Students:
$340
Bring in a favorite Historic Master artwork reproduction (1500-1900) and work with Sadie to create your own Master Copy, following the methods of the artist.
Studying the works of a master artist is an integral part of historic training for painters. Learn about transfering a line drawing, creating an underpainting, and using scumbles and glazes to build up the layers of paint, as appropriate to the particular method of the Master.
FREE Introductory Talk
Sunday March 15th, 6-7pm
RSVP to ti...@sadievaleri.com
6 Sunday Evening Course, 6-8pm
April 5 - May 10
$280
DISCOUNT PRICE for Enrolled Students:
$250
For an artist to get to her work is a daily miracle. Our lives are increasingly complex. We have all felt the consequences of the daily use of technology in our world. We are greatly enriched and also greatly distracted.
8 Sunday Mornings 10am - 1pm
February 1 - March 22, 2015 — ONE SPOT LEFT
OR
NEW: 8 Wednesday Afternoons 1-4pm
March 4 - April 22
$440
Sadie Valeri introduces the basic steps for creating a quick still life oil painting in a single session. We start with a fast “wipe out” umber under painting, and then apply color while managing hue, value, chroma and edge control with each stroke.

8 Sunday Afternoons, 1:30-4:30
June 14 to August 2
$440
DISCOUNT PRICE for Enrolled Students:
$340
This 8-evening course covers the basics of one-point and two-point perspective. Students learn how to create the illusion of three dimensional space on a two dimensional surface.
Portrait Model, Non-Instructed
Thursday Evenings, 6:30-9:30
Starts February 5th
Long Pose Figure Model, Non-Instructed
Tuesday Evenings, 6:30-9:30
8-Session Pose Starts March 3
Long Pose Figure Model, Non-Instructed
Saturday Afternoons, 1:30-4:30
8-Session Pose Starts Feb 28
$25 per Session
$160 for 8 Sessions
Wednesday Evenings, 6:30 - 9:30pm Jan-May 2015
$220/month, based on a four week month, new students register for two months at a time.
FULL
email: in...@feliciaforte.com to be placed on thewaitlist. On the 16th of each month you will be alerted via email should a spot become available.
In This class students may choose to draw or paint. If you choose to draw: Felicia teaches a tonal style of drawing that lend’s itself to learning representational painting. Painting: in direct painting, also known as allaprima, a work is completed in a single session while the paint is still wet. Direct Painting is a stimulating method which teaches you to be present in every brush stroke, focusing on only the essentials, ultimately teaching you great dexterity and control.
One to Eight Weeks of Full Time Study
Registration Now Open
Daily practice is the best way for an artist to significantly improve their skills, but many serious students of Realism are unable to attend a full-time program year-round. That’s why we offer the opportunity to study at the atelier for short-term, full time Intensives.

4 days, 10am - 5pm
NEW DATES NOW OPEN FOR REGISTRATION:
May 25 - 28, 2015
$650
Join us for four days of intensive study with master of “Alla Prima” (single session) painting technique, Daniel Keys.
Each day Daniel will do a demonstration while discussing the skills necessary for creating beautiful still life paintings using alla prima methods.

5 Weekdays
June 22-26, 2015
$775
DISCOUNT when combined with 2 or more weeks of a 2015 Intensive
$675
We welcome Carl Dobsky back to the San Francisco Bay Area for this incredible workshop. Carl has moved to Los Angeles and is very much missed, so we are thrilled to have him back for a visit!
Carl Dobsky shares his techniques for Long Pose Figure painting in this 5-day workshop, designed to give a complete overview of his atistic process: from concept, through sketching and final execution of the painting. Students will create one painting during a 30-hour pose.
May 29, 30, 31
9am - 5pm
$450
For over a hundred years, most causes of paint failures have been studied: humidity, temperature and paint embrittlement. The symptoms were obvious—cracking, delaminating and paint loss—but the causes were not. Conservation workers gradually formed concepts as to the causes of cracking and paint loss of old paintings. Concurrently, the coatings industry studied failures in all types of paint films. Artists developed their own ideas, but remained largely unaware of findings from both the conservation community and the coatings industry.