Witkin will talk about how his own drawings have evolved from 1970 to the present. His early figurative drawings were in pen and ink, and they were "timid and precious," Witkin says. "Lately the drawings are kick-them-in-the-teeth unprecious. So you'll see that evolution." Witkin will illustrate his talk with 84 slides of his work in chronological order. While drawing has routinely served Witkin as a rehearsal for painting, he now takes that exercise to greater depths, using colored pencils to explore color schemes, and correcting the work by patching it with fresh paper and drawing anew, instead of using erasers.

Johnson will teach participants how to visualize the figure as a series basic forms, and how to capture those forms quickly as the basis for a fully developed drawing.
Suggested materials: Newsprint pad, charcoal, erasers, rag

"My philosophy is very simple," says Ransome. "I believe in drawing, strong design, and beautiful colors. At its best a painting should feel handcrafted, but also very simple and fundamental." Ransome will lead participants in a series of drawing and thinking exercises designed to question and stretch artists' routine approach to drawing.
Suggested Materials: 18x24 paper, white masking tape, Sharpie fine point marker

Topp will present the work of artists who use the camera for figurative studies - specifically portraitists (Daniel Greene) and illustrators of graphic novels (Alex Ross and Richard Piers Rayner). Working with a model, he'll demonstrate lighting and photography techniques and, if time allows, drawing from photographs. Participants are encouraged to bring a digital or film camera and drawing materials.
Suggested materials: 11x17 toned paper, sketchbook

Robinson will show how to use light to define form on the figure. He'll discuss coherent light, such as sunlight, versus soft light, and give an overview of three kinds of shadows: form shadows, cast shadows, and core shadows.
Suggested materials: cigar-sized vine charcoal, square dense charcoal, white dry pastel, medium toned paper

Topp will give an overview of effective portrayals of hands and feet by classical masters, focusing on the expressive potential of hands and feet. He'll introduce the basic structures of hands and feet, then lead the class in practical exercises, working from a model and from participants own hands and feet.
Suggested materials: 11x17 toned paper, sketchbook

Tatham will focus on a crucial turning point in Homer's career when the artist began to achieve stylistic maturity in his work; the years he spent at Houghton Farm in Mountainville, N.Y. The presentation will bring together a number of Homer's watercolors, drawings, wood engravings, oil paintings and ceramic tiles of the period from galleries, private collections and museums across the country. Some of these works of art will be coming to Syracuse's SUArt Galleries this August.

Dacey will introduce basic facial structure, and demonstrate how to plot out the structures, using vertical and horizontal alignments.

Topp will present the color portrait work of his former teacher, Robert Hofmann, a native of Vienna, who practiced professional portraiture in Syracuse. Topp will then give a brief portrait demonstration, working from a model, using toned pastel paper and a limited palette of pastels and pencils (white, red, black, and yellow ochre). During the demonstration, participants are welcome to draw along.

Benson will lead participants in a series extended gesture drawings from a model. The workshop will emphasize the importance of carrying the essential qualities of gesture drawing - freshness and immediacy - through to the finished drawing. Participants in this morning master class have priority enrollment in Benson's afternoon master class.
Suggested materials: 18x24 newsprint, charcoal (stick, vine, compressed) erasers (kneaded and Staedtler Mars plastic), Rag (soft cotton)
Registration for the all day Master Class is limited to 16 participants.

Roeder is an artist and educator who has worked in schools and museums over the last 25 years. She has facilitated large scale professional development initiatives in Visual Thinking Strategies and Stanford University's Complex Instructions. She has spoken nationally and internationally on the importance of community partnerships in the arts.
Optional: bring work to be critiqued

Dacey will retrace the broad history of how caricature has been used to comment on political and social personalities and issues, from the work of Thomas Nast in the 1880s, to the work of Steve Brodner and other contemporaries.

Sickler will team up with an assistant, Carmel Nicoletti, to dig into the notion of figure drawing for a deeper level of content. The presenters will give an overview of work by Nathan Olivera, Alberto Giacometti, and others. They'll then lead the group in drawing from a model, working in charcoal and pencil with lots of erasure and re-working.
Suggested materials: 18x24 pad of paper, any drawing materials

Peden-Wesley explores contemporary approaches to drawing. By working large scale, participants will lean how to transform ordinary imagery into something new and original. The workshop will focus on the challenges of using such a format. Participants will gain the knowledge needed to successfully render a drawing in a large scale using still life as subject matter. The exercise will begin with small charcoal/pencil sketches, and work up to a large drawing that can incorporate other media including watercolor washes.
Suggested materials: Rives BFK 30x40 or larger paper (large paper of a lesser quality provided), newsprint pad, charcoal, erasers, rag

Benson will address proportion: how to achieve effective proportion through a combination of initial measurement and ongoing judgement. Participants will develop an understanding of what works and why. Participants in Benson's morning master class will have priority enrollment in this afternoon class.
Suggested materials: 18x24 newsprint, charcoal (stick, vine, compressed) erasers (kneaded and Staedtler Mars plastic), Rag (soft cotton)
Registration for the all day Master Class is limited to 16 participants.