FAQ for Workshops with Felicia Forte
Curriculum- Felicia’s workshops are studio style (practical). Each day you will engage in creating an alla prima study from life after her demonstration. Felicia offers guidance in the form of technical advice, philosophy, and demonstration as needed.
Medium- Felicia’s technical expertise lies in oil paint, she can teach a beginner how to use and master the medium. She is also happy to have students use other types of mediums in her classes as long as they are already proficient in the use of them.
What is the tone of the class? Felicia’s classes are for painters with serious curiosity and desire to learn. She welcomes beginners and amateurs as well as advanced or professional painters. This is a master craft, expect that learning it can be a challenging, engaging journey.
A note for beginners- This craft is learned through making paintings. They will be “bad” for a long time, that is the same for everyone who has ever learned this craft. There are many skills to learn that must eventually be accomplished in concert to produce a technically masterful painting. Be comfortable with being uncomfortable, come with a child’s mind for learning.
How long should I expect to study for? To learn to paint you will need to practice regularly, for years. You should find a teacher who resonates with you and stick with them until you have learned all you can from them. You can tell when you are ready to find a new teacher by your level of excited engagement in their work and the practice. If you are already proficient at painting and wish to learn something about Felicia’s methods you may benefit from any length of participation in her class.
Want to get some practice before hand? Felicia has lessons suitable for all levels available on her Skool platform.
Reserving a spot. Payment is required to hold a place in a workshop. You may register on the Booking Calendar Page . There is an early bird option for payment by installment.
Refunds and Makeups. Felicia cannot offer refunds or makeups for student cancellations or absences.
To Contact Felicia’s Studio: https://www.feliciaforte.com/write-to-felicia
More General FAQ About Painting
Q: Are you planning to teach a workshop in (my city)?
A: Check here going forward, and sign up for the mailing list here.
Q: What materials do you paint on?
A: For large or more complete paintings I paint on either linen which I stretch and prime myself, or cradled wood panels also primed myself. For small works and studies I use Arches oil paper and small cradled wood panels.
Q: What medium do you use?
A: 50/50 odorless mineral spirits and oil (I try different ones.. safflower, walnut, lavender- all artist grade). When I paint on the arches oil paper, I first wash it with this medium and a tiny bit of paint to get rid of the white of the paper and extend the erasable period.
Q: What easels do you use?
A: https://www.dickblick.com/products/blick-studio-heavy-duty-h-frame-easel/
Q: What do you prime your canvas with?
A: Acrylic Gesso ( I like Golden brand), several thinned coats, and maybe sand a bit to smooth at the end. When I use the Arches Oil Paper I do not prime it, it's made for oil painting and does not require it.
Q: What palette do you use?
A: If you mean paint colors- I often use these: Ivory Black, Ultramarine Blue, Phthalocyanine Turquoise (Michael Harding), Brilliant Pink (MH), Cadmium Red, Cadmium Orange, Yellow Ochre, Cadmium Yellows, Transparent Oxide Red or Burt Sienna, Titanium White. I will also add and subtract new colors depending on the painting in progress or whim. For learning I suggest you stick to a limited palette for ease. I used strictly the Zorn palette for 2 full years in my studies and found it immensly helpful (Ivory Black, Yellow Ochre, Cadmium Red, Titanium White).
If you mean Palette, I use New Wave Palettes the large POSH model. Mine have a grey enamel coating, but I don’t think they still offer the coating.
Q: What types of brushes do you use?
A: Princeton Ashley 5200F series bristle brushes are my go to. Sometimes I’ve purchased a ‘lot’ of brushes from eBay and enjoy experimenting with new shapes and textures. In the past I worked with Rosemary Brushes and created a student set, which may still be available on their website. I Usually lean hard on long flats/bristles 0-8 and switch to other types if I get bored or inspired.
Q: Do you have an instructional video?
A: You can find lessons and videos on my Skool platform.
Q: How do you mix your skin tones?
A: There is no easy answer to this, every painting, every portrait is different. If you do not wish to have formulaic paintings you must use observation and logic each time you mix a color. The practice that made color second nature for me was using a limited palette (Zorn) for EVERY painting for 2 years, then adding color back in one at a time over the next year.
Q: Where are you based?
A: San Francisco, CA
Q: Where did you study?
A: The California Art Institute (now closed), The Art Student's League of New York for 1 year, and for many years on my own. I do not have an art degree.
Q: Do you have prints available?
A: I have prints available on my shop page.
Q: Do you draw with pencil or paint to start a painting?
A: 99.9% of the time I start with paint.
Q: Do you work from life or from photos?
A: I do both.
Q: How long does a painting take you?
A: Three hours is the minimum amount of time I complete a painting in, like an all prima portrait or still life sketch. But I have spent days, weeks, months or even years on a painting.
Q: Do you varnish the arches oil paper?
A: Yes, with Kamar spray varnish usually. I like Conservators Products Company for varnishing my other paintings, I mix the UV gloss and the matte.
Q: How do you frame work painted on arches oil paper?
A: Either by having the painting mounted on a stronger support and framed as you would any painting, or matted and framed under glass.
Q: What is your studio lighting set-up?
A: I have a C-Stand with extension arm and a soft box light (with the cover both on and off depending on how bright I want my light), like the ones I’ve linked here. I use large, stong 5000 kelvin Bulbs, to give cool Northilght-like illumination.
Q: How much medium do you mix into each pile of paint on your palette? Is there a maximum ratio of medium to paint to be aware of?
A: I only use medium in these scenarios: 1) to wash the arches oil paper to make it less absorbent during the drawing stage of an alla prima painting. 2) When I need thick paint to glide/have more flow. It does not need to be added to piles of paint as a rule. Keep in mind that I paint directly, so I am not very concerned with layers and their fat and lean content. I do make sure not to paint a wash thinned with turps over a thick passage of paint as that will crack due to different drying times. If you paint indirectly you may need to ask an indirect painter for more detailed guidelines.
Q: Is the first step you do with the arches oil paper, "dirty" it with oil or turpentine?
A: I do not always wash the paper. But if I do wash it with medium and a tiny bit of paint it is to allow myself to move/erase drawing lines in the beginning, and to get rid of the white of the paper so that I can guess accurate values better when I begin.
Q: How do you add encaustic layers to your paintings? I love the effect
A: When the paint is dry I heat the encaustic up in a crockpot with the help of a heat gun. Once melted I pour a layer on top of the painting. It dries fast, so it may need to be remelted to lay evenly. The bigger the painting the harder it is to get an even layer. I found the ratios for making encaustic by googling it. It’s mostly beeswax and some smaller part damar resin. The more resin the harder it dries. Damar resin (at least what I bought) has nature bits in it, so it can look dirty if you do not fish them out. If you heat it too hot you will disturb your paint, I’ve had mine bubble up. From what I can tell this is not the usual way oil painters utilize encaustic, I simply wanted an obscuring layer to freeze my paintings and give myself time to redefine my beliefs on what finish can look like. Oh and I tape the sides so that it doesn’t spill off the edges as I pour it. But I also have allowed it to pour off and I like that too. Experiment and see what you like!