“Tell me what you want to learn, and I’ll teach you”

Christine’s classes start with the needs of the student/art group. She is happy to write new lessons if you have an idea.
TOPICS Watercolour painting, Intaglio printmaking and general art classes that include both. She also consults about professionalism in the industry for artists and art-business-people.
LESSON TYPES Weekend workshops, longer schools, individual tutorial, ongoing classes or individual consultation.
BEYOND THE BLACK STUMP Christine loves travelling to isolated places to share her knowledge. She brings all the materials and tools needed (including her travelling etching press), especially if you don’t have an art shop.
EXPERIENCE Christine draws on her thirty years as a full time professional artist. She’s taught every age group from kindy to older people and university level.
TO BOOK Contact Christine directly
COMING UP  2018 Full Moon Art Retreat: 25-28th May, 21-24th September (Spring Equinox). 2019 GoCreate Kentucky Armidale

 

GENERAL ART CLASSES

Two and a half day residential school on a sheep station near Tenterfield. This is a workshop that is a regular addition to Christine's teaching timetable. The workshops have included  private weekend for a group of friends. If you think you would like to bring a crowd to "Moorabinda" to do art in the amazing landscape of the Dumaresq Valley, contact Christine for details. Proposed 2018 dates for Full Moon Art Retreat: 25-28th May, 21-24th September (Spring Equinox). Contact Christine to enrol and for more information.
                         FULL MOON ART RETREAT                   Two and a half day residential school on a sheep station near Tenterfield. This is a workshop that is a regular addition to Christine’s teaching timetable. As well as public subscription, the workshops have been offered as a private weekend for groups of friends. If you think you would like to bring a crowd to “Moorabinda” to do art in the amazing landscape of the Dumaresq Valley, contact Christine for details. Proposed 2018 dates for Full Moon Art Retreat: 25-28th May, 21-24th September (Spring Equinox). Scroll down for brochure. Contact Christine to enrol and for more information.
how to be an artist by Christine Porter.
HOW TO BE AN ARTIST  
     This series provides the building blocks for developing an art practice.and answers the question about how to fit being an artist in around a life. “How to draw what is in front of you” right through to “how to take an idea and turn it into an exhibition”. 
Within a broad framework, this workshop is driven by the needs and experiences of the group/individual. The workshop can be taken as face value: a series of watercolour, drawing and artist-bookmaking activities, or it can be the starting point for evaluating how you are an artist.
LEARN HOW TO DRAW                  Learn how to draw what's in front of you, accurately. Using still life, from real life and from the straight edge world of architecture. This can be a small section in another day, or a full day by itself.
                   LEARN HOW TO DRAW                                There are many that say that knowing how to draw is the basis of all art. I agree, but nowadays being able to draw is not the only way to tell a visual story.  In this class I teach you how to draw what’s in front of you, accurately, so that you have the skill to use if you want to. We draw still life, real life and from the straight edge world of architecture. This can be a small section in another day, or a full day by itself.
Full Moon Art Retreat with Christine Porter “Moorabinda” Tenterfield, May2018

WATERCOLOUR CLASSES

Watercolour has a terrifyingly reputation, however it is very simple to use – perhaps it’s that simplicity that creates difficulties in people’s minds. Christine LOVES watercolour and has, after more than 30 years with the medium, developed language and strategies to share this love.
Making art is more than handling the media. Yes, you do need to know how to manage the paint/paper/white edges etc, but Christine believes that is only one part of successfully creating an artwork. She has created a series of single day workshops that can be taken on their own or blended with others. None is a pre-requisite for any other. Often smaller versions of each class are incorporated into a single workshop depending on the needs of the participants.
Be you, not your teachers’ clone. Christine is passionate about creating independent artists. Her teaching strategies are about showing, experimenting, strategies, note taking and projects to do at home. Each class has followup email/phone support with Christine.
Each student is an individual Classes have a minimum number, every class can be modified to suit the needs of the artists in the group. Raw beginners are welcome, experienced artists are challenged, artists from other mediums are encouraged.

 HOW TO USE WATERCOLOUR            This workshop is about the medium of watercolour. By lunchtime the student will know, or be reminded of, everything there is to know about painting in watercolour. The class investigates what makes this medium special, how to handle its peculiarities and some conservation issues – collating the learning experiences in a small sample book for reference. If this is part of a two day workshop, the second day is about taking these skills and making a painting. In a one day workshop, the afternoon is spent covering this second topic. Suitable for beginning artists, painters from other media, watercolourists with some experience, lapsed watercolourists
                      HOW TO USE WATERCOLOUR                    This workshop is about the medium of watercolour. By lunchtime on the first day, the student will have explored everything there is to know about painting in watercolour (after that it’s just hours at the easel). The class investigates what makes this medium special, how to handle its peculiarities– collating the learning experiences in a small sample book for reference. If this is part of a two day workshop, the second day is about taking these skills and making a painting. In a one day workshop, the afternoon is spent covering this second topic and others. Suits: beginning artists, painters from other media, watercolourists with some experience, lapsed watercolourists
                      HOW TO MAKE A PAINTING                       In a two day workshop, the second day builds on the first day’s information by applying it to the practice of making a picture. Colour and tone are investigated. Elements of composition are referred to within the context of critical analysis. Students come away from this day with a small painting illustrating their understanding of how to approach any subject from conception to completion. Suits beginning artists, painters from other media, watercolourists with some experience, lapsed watercolourist
HOW TO PAINT IN THE FIELD Addresses challenges such as painting out of doors without the need for a sherpa, what to pack, how to start, how to take all that LANDSCAPE and fit it onto your page. Depending on the site we look at how to paint trees, buildings and people in the environment. It’s about how we don’t need to go all the way to Paris to find inspiration, and how the meditative nature of sitting in a comfortable chair in the out-of-doors is one of life’s great pleasures.Can be taken as a full day out in the field, or as part of another class.
                        PAINTING EN PLEIN AIR             This workshop, about taking your studio out into the great outdoors, addresses challenges such as getting there without the need for a sherpa, what to pack, how to start, how to take all that LANDSCAPE and fit it onto your page. Depending on the site we look at how to paint trees, buildings and people in the environment. It’s about how we don’t need to go all the way to Paris to find inspiration, and how the meditative nature of sitting in a comfortable chair in the out-of-doors is one of life’s great pleasures.(read Christine’s blog post about this topic)Can be taken as a full day out in the field, or as part of another class.suits: all artists
                                  HOW TO MIX COLOUR                    Because watercolour doesn’t use tube black or white, making colours in watercolour is slightly different than in other mediums. This workshop covers making shades and tones, using complementary colours to grey off colours. It shows how to mix colours, match colours, and make colours do their thing, including how to create the illusion of distance using colour. This is usually a small part of other days, but a day spent concentrating on colour will stand any artist in good stead. Suits all artists

 

        RETROSPECTIVE COMPOSITIONING                                     This is a workshop that looks at what happens after the inspiration and indeed the perspiration is over. It’s about the logic of what your audience sees and how to get them to see what inspired you in the first place. It explains the reasons for some of the compositional “rules” we’ve been taught, and how patterns and geometry can take control of the painting without us knowing it. Christine analyses a finished piece using the four fingernails of success (how to tell if a painting really is a failure) and the seven questions to see with (how to look beyond the subject to the painting). Participants will work on one of their own “failed” or unfinished works.
This workshop is aimed at creating independent artists, with strategies to solve problems such as what to do when teachers or peers are far away. Suits all artists, though those with some experience will get the most from it. Image “Catching Pens, shearing shed, Blackall, Qld”2017 watercolour 74x54cm Sold

PRINTMAKING CLASSES  

Because so much about printmaking revolves around technique, Christine has developed strategies for approaching many topics in a single workshop. Usually this involves working small, collating  plate-making, inking, wiping and printing experiments into a self printed, studio resource book. Some students may create their own individual projects if the time permits: others may take the time to simply experiment further.

VENUE
The classes can be held at your place, or in Christine’s studio
CONTENT 
– different methods of inking, wiping and printing plates  Suits those who work in edition or in unique states. Includes inking intaglio and relief; masking, dolly wiping and more.
-other printmaking topics: which ink does what, how colours, pigments and brands differ, using white and black ink, materials other than ink, multi plate colour etching, developing narratives within the final image, safe workplace practices
the professional printmaker all workshops touch on the professional aspects of printmaking such as the implications of editioning, signing, storage and post-print care.

All workshops are suited to
– artists with some experience in printmaking, including any of Christine’s former students.
– artists from other media
– high school art teachers, with or without printmaking experience
– primary school teachers who may feel that this sort of art is too difficult for their classroom
– people who’ve never made a painting, etching or even a singe piece of art before in their whole lives.

Colour Intaglio Printmaking Classes with Christine Porter
                        COLOUR (INTAGLIO) PRINTING                      These two workshops are about the printing part of print-making. Explore the many different ways of printing in COLOUR from the plates created during the workshop (various drypoint and engraving techniques on a different surfaces) as well as from student’s own, already etched, plates.  Depending on the experience of the participants, 1) NOW ADD COLOUR.  This workshop is a time of experimenting with ways to add colour easily without having to etch more metal. Suits the experimental printmaker who wants to create a variety of marks easily, or the scientific printmaker who likes to test images first. A full day /days of technical interrogation. 2) FIFTY WAYS TO PRINT YOUR ETCHING 2-3 days to literally print a single plate in 50 variations. Heaps of fun.
Drypoint etching Workshop with printmaker Christine Porter
                                        DRYPOINT                   Drypoint is the simplest form of printmaking. In this workshop Christine explores tools and methods needed to make a simple drypoint plate, using a number of techniques on different surfaces, including inexpensive household materials.DRYPOINT AS A NOTE-TAKING TOOL: Christine uses metal and acid in her own practice but has developed teaching methods that result in quick results allowing for more information to be taken back to the artist’s studio. She’s found it allows more time for  experimenting with the various inking, wiping and printing options available. DRYPOINT AS SKETCHING TOOLS EN PLEIN AIR: Taking the sketching plates out in the open, sketching and bringing them back into the studio to work up into finished artwork or artist books. .
Solar Plate Printmaking workshop with Christine Porter
                    SOLAR PLATE PRINTMAKING                A less toxic printmaking form, where when the  photo-sensitive surface laid over a metal plate is manipulated with UV light in order to create a new surface that is sturdy, waterproof and ready to be wiped intaglio or relief. This precludes the use of acids traditionally used to etch a metal plate and makes for a safer studio. From this new technology have come different and exciting ways of making a mark including using found objects and “drawing” with a photocopier.The materials needed for solar plate are more expensive so the materials fee per student is more than for other printmaking workshops. The workshop includes many of the inking and wiping topics covered in the colour printing workshops.
PROFESSIONAL DEVELOPMENT FOR ART TEACHERS                   This two or three hour workshop is a hands–on chance for teachers to experiment with ways of printing drypoint with specific information about how it can fit into the high school or primary school classroom. If you are a teacher and attending any of the other classes Christine can layer your activity with classroom information. You may be able to claim this as part of your PD requirements. A certificate of attendance can be issued if needed.

ART-BUSINESS CLASSES

“My Vision is that all over Australia and the world emerging artists will have access to the same information, motivation and opportunities as those involved with art institutions, industry bodies and/or the business world.    My Mission is to create a level playing field for all artists through education and motivation, regardless of the concepts behind, subject matter or medium of the artwork created, regardless of  the geographical situation or demographic of the artist.” 

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              SUCCESS AND THE BUSINESS OF ARTWORK                     Christine has been teaching about being an art-businessperson since 1996 in direct response to her own years as a regional artist without easy access to art-professional information. Her workshop entitled “Success and the Business of Artwork” is a series of modules that can be taken as a weekend workshop, lecture, or a series of individual units or individual consultations. The content in them draws on her own years as a professional artist, her understanding of industry bodies and what they can offer and was refined when she was a casual academic teaching within the Arts Industry Studies unit at Southern Cross University. Topics include: making sales, valuing your art, the artists’ product, record keeping, acceptable standards, transporting fragile items, copyright, copying, multiples, conservation, industry bodies, how to get into the studio and stay there. etc
Suits: emerging artist, professional artists with a particular problem, hobby artists, art groups with mixed membership, professionals outside the industry dealing with emerging artist.
Professional Development for aritst, individual consultation by professional artist Christine Porter
INDIVIDUAL CONSULTATION The teacher as experienced bystander
Christine works with artists as their individual mentor. Often these are one-off consultations where the artist has a particular situation or problem. The discussion results in the artist having a greater understanding of the steps needed to achieve their aims and goals, and of the industry as it relates to them in this specific situation. As needed, referrals  to other industry professionals and any pertinent reference material are included. Sometimes this consultation can be via telephone or skype. The aim here is not to question or give advice on how or what the artist is making, but simply to talk about what to do with it next Venue can be at any cafe or meeting room near both the artist and the teacher. Cost will be an hourly rate but no travel costs if Christine is already in the area.

FREE FIFTEEN MINUTES – short questions
If you have a simple question Christine is happy for you to contact her by phone or email. In fact she welcomes these sort of contacts. Most problems can be solved easily. If it looks too complicated she will organise a formal consultation or referral to another professional.
Cost: FREE if it takes less than 15 minutes to answer. Some of the questions so far have been about copyright, framing, exhibition problems. Some of the answers have included referral to accountants, industry bodies and internet sites. Christine is your person in the industry, in the days before Google, she remembers very clearly what it was like to not really know where to get the information. This is  your chance to find out. 

NOTES

christine-porter-watercolour-teacher-11Workshop space – painting:
Large enough so that each participant has 1 metre of desk space each (card table size )
Good ventilation is needed, but not vital as there are no fumes. Running water and electricity are handy.
The tables should be “art” tables and may get dirty, even though we don’t generally use staining colours
Workshop needs will be discussed at the planning stage of the workshop
Workshop space – printmaking:
Same as above but add one extra trestle table or similar for the press. May need a bit more walking around room. The room may need better ventilation for printmaking as Christine uses oil based inks. Will need covers on the tables.A detailed list of equipment needed will be supplied to the organiser in time.

Limitations:
Pregnant and breast feeding women, ok in watercolour but because we use oil based inks, it is better if they don’t take part in printmaking classes.
The workshop space is not a safe  place for children under school age
Closed in shoes must be worn – students without shoes will not be able to take part
Many more than 15 in the class takes the personal attention away from individuals. For printmaking there needs to be a max of 10 per etching press.
Teenagers younger than 14 find the learning experience less accessible in an adult workshop. This workshop does not suit primary aged children: it’s better to have a dedicated children or adolescent class

The tutor will bring:

All materials needed to attend to the learning experiences: all paper, paint, clean-up, other consumables– usually  reimbursed by the participants, but could be reimbursed by the organisers.
In printmaking class, she will bring her travelling etching press.
Extra materials for resale at cost if there is not an art supply shop in your town

Students may need to bring :
Some tools and equipment, however beginning, inexperienced or disorganised students are welcome and will be catered for
A detailed materials list will be supplied before the class for those students who work better that way

Fees
Christine charges a tuition fee (daily rate) + travel (if more than 1 hour from Lismore) + accommodation
If she is already working in your town, she may reduce the travelling fee.
Materials costs per student start from $15 per day, depending on the workshop, its length and any extra materials purchased.
For more information download the current price list.