JUSTIN WOOD
FINE ARTIST
INSTRUCTIONAL VIDEO
$95 for 9 hours of content
https://grandcentralatelier.org/online_demo/working-up/
PRIVATE INSTRUCTION
I offer private one on one instruction to a small number of artists. Inquire at jwood82@gmail.com
WORKSHOPS
Winter's Harvest: Still Life Across the Seasons
Hosted by Terracotta over Zoom
Schedule
Session 1 - January 6 , 2026 12:00-3:00 pm America/New_York
Session 2 - January 13, 2026 12:00-3:00 pm America/New_York
Session 3 - January 20, 2026 12:00-3:00 pm America/New_York
Session 4 - January 27, 2026 12:00-3:00 pm America/New_York
Summer 's Bounty: Still Life Across the Seasons
Hosted by Terracotta over Zoom
Schedule
Session 1 - July 2 , 2026 12:00-3:00 pm America/New_York
Session 2 - July 9, 2026 12:00-3:00 pm America/New_York
Session 3 - July16, 2026 12:00-3:00 pm America/New_York
Session 4 - July 23, 2026 12:00-3:00 pm America/New_York
Still Life Painting (in person)
June 15-19, 2026
Lebanon, New Jersey USA
email jwood82@gmail.com to sign up
I am hosting an in person still life painting workshop reminiscent of the 17th century Dutch tradition in my home town in beautiful Hunterdon County, New Jersey. Over the course of five days I will lead the group through the entire picture making process from composing and drawing to the various paint layers. Utilizing historical methods and conventions we will use our understanding of design, light, form, color and paint application to build a tangible, elevated world.
This workshop is inspired by the Dutch Breakfast Still Life (Ontbijtjes), a type of still life painting developed in the 17th century and while the word "ontbijtjes" is Dutch for breakfast, it was more thought of as "a light meal taken at any time of day". The Breakfast Still Life is characterized by the display of everything from common foods and items to rare delicacies and luxury goods such as roemers (wine glasses), silver/gold goblets, and chinese porcelain bowls. Still life paintings in this genre ranged from small and simple to large and complex with meanings both literal and symbolic such as straight forward tributes to nature and finely crafted wares to moral and religious warnings against excess.
The paintings were created using specific procedures. They first executed a careful line drawing of the scene. This drawing was transferred to canvas or a panel and then toned a light gray or brown. The artist then completed the dead coloring (dood-verf) which was a transparent underpainting that would establish the general tones and colors needed to describe each object. Some artists did their dead coloring with full color and some did it with just brown and white. We will use the latter method and limit our palette to brown and white. Once this layer is dry, the process of "working up" (opwerken) began. In this stage, the artist precisely defined each form to completion. They were careful "not to apply paint too heavily, but thin and sparingly, elegantly laid, glowing and pure." If, when this layer dried, some revisions and final touches were needed, they would do it at this time. There were, of course, different interpretations and versions of this method, but generally, most of the still life artists of that time period worked in some variation of the previously described process.
Due to the time limitations and the importance of experiencing the entire production process, I want everyone's still life to be simple. The size of the painting should be between 8x10 and 11x14. I recommend you choose a few pieces of produce (lemons, oranges, grapes, olives, etc.) with a bowl, plate or cup, etc. Metal objects (steel, silver, pewter, copper) are great but avoid high polish. Bread works well too and comes in many varieties. You can also include a piece of fabric, such as a white napkin or tablecloth. If your fabric has a pattern, it should not be too complex.
We will spend the first day setting up our compositions, drawing and transferring. The second day will be used to complete the grisailles. The remainder of time will be spent completing each part with color. I will work with everyone individually throughout the week and will paint alongside the artists on my own still life.
All levels welcome although some prior experience drawing & painting is helpful.
Drawing and Painting Supplies
-11x14 inch drawing pad
-drawing board
-artist tape
-pencil
-kneaded eraser
-medium vine charcoal (used to transfer drawing to canvas)
-05 micron pen (used for inking transferred drawing)
-round sable or synthetic sable brushes (long handle): small, medium, large sizes (ie. Rosemary Brushes pure sable series. 99, long handle)
-medium (ie. linseed oil, oleogel)
-liquin (for speeding up dry time)
-odorless mineral spirits (ie. gamsol)
-container for mineral spirits (ie. silicoil)
-palette
-palette knife
-stretched canvas or prepared panel - size options: 6x8 inches, 8x10 inches, 9x12 inches, 11x14 inches (linen should be smooth, ie. Claessens 13 DP)
-paints: lead white (ie. Natural Pigments flemish white) or titanium white, yellow ochre, cadmium yellow, venetian red, alizarin crimson, cadmium red, ultramarine blue, green (ie. viridian, phthalo green yellow shade), raw umber, burnt umber, black
-muhl stick (optional)
-rags or paper towels
(easels and still life tables will be provided)
Accommodations and Transportation
300 Corporate Drive
Lebanon, NJ 08833
908-236-8500
Transportation to and from the studio during the week can be arranged by request.
Registration
The workshop will cost $700 and a 20% ($140) non refundable deposit is due upon registration. Balance ($560) is due by May 1, 2026. Payment can be made via Zelle or personal check. Send an email to jwood82@gmail.com to register.
Workshop address - 79 Blossom Hill Road
Lebanon, NJ 08833
Limit of 13 artists
Schedule
Monday 10 am - 5 pm
Tuesday 9 am - 4 pm
Wednesday 9 am - 4 pm
Thursday 9 am - 4 pm
Friday 9 am - 4 pm
we will have 1 hour for lunch
