Workshop: Tony Ryder, Part II

GETTING THERE

The workshop at Andreeva Portrait Academy at which I was a participant, ran from February 28 through March 11, 2005.  This was my first two-week workshop, and the first which required me to bring a significant amount of my art supplies farther than a few hours drive from my home in New Jersey.  I found readying myself for this visit to Santa Fe a bit daunting, and perhaps in reaction to that feeling, I over-prepared and over-packed, but being inordinately concerned with the details of my trip was probably just a good indication that I was meant for the class, jokingly referred to by its instructor as, "Painting for Control Freaks with Tony Ryder."

The first weekend, I drove deep into a park until I reached the point where
 the snowplows gave up.  There I set up my pochade box and watched
 the storm clouds roll in.

My primary concern during preparations was about the successful transportation of my art equipment to the other side of the country.  I had, of course, by that time heard many third-hand stories about the Transportation Security Administration confiscating entire collections of tubed oil paint, and one direct story from John Howard Sanden who related having a once-used brush washer taken from him in a European airport because it "smelled as if it once held something flammable."  After reading an article on Traveling with Oil Painting Materials by Robert Gamblin, I chose to include Material Safety Data Sheets for all of the brands of oil colors (AKA "pigments suspended in vegetable oil") I was transporting to Santa Fe, and to buy solvent at my destination rather than include it in my kit (Despite Gamsol's flashpoint being 7˚ outside the TSA's restricted point of 140˚ F,  I supposed  I would have no chance of getting it through airport security).  In the end, I decided to purchase a Pelican Case through ebay and ship my supplies via Federal Express, and thereby avoid any potential security problems associated with passenger airlines.  (I have since included the same MSDS sheets with my art materials during commercial air travel, and have had no problems with the TSA).

The second weekend, it was warm enough that I needed to wear shorts.

Instead of flying into Santa Fe, I chose to fly to Albuquerque and drive north to the capitol.  Not only did the Albuquerque Sunport provide me with more flight options, but the money I saved on tickets by flying into this larger airport covered the expense of a car rental.  With a car at my disposal I was able to book more affordable lodging outside the town center, travel to the art supply store at my leisure, and to explore nearby state parks to paint en plein air on the weekends.  I think this mobility really added to my overall experience during the workshop.

THE STUDIO

The Andreeva Portrait Academy was located in a newly renovated space next door to the famous Lensic Theater in  downtown Santa Fe.  Ryder, as a local artist and featured instructor at the Academy, had a say in the outfitting of the studio, and his suggestions, including lighting and backdrop supports, made the most of the available layout.  The classroom consisted of two rooms, which Ryder had organized to accommodate three model stands and easels for 21 students.  Before assigning easels to the participants through a lottery system, Ryder sat in each location and made sure the students would have unobstructed views of their models.

SCHEDULE

A favorite aspect of this workshop was Ryder's commitment to demonstrating each step of his method to the class.  Nearly every day, from 9:00 AM until 1:00 PM, Tony worked from the model while the students watched, asked questions, and took notes.  Then, following an hour lunch break,  the class would put into practice the lessons Ryder explained that morning, while he moved about the studio giving individual attention to the students.  Participants worked this way until 5 or 5:30 each evening.