Please scroll down for the FULL 2025-2026 Workshop Schedule

General Inquiries – email; gloriakartstudio@gmail.com

Information

The Pelham Art Association offers Monthly Saturday 1 (ONE) DAY workshops by well-known artists, September 2025 to May 2026

Please note Photographs from VISITING instructors are examples of their work, NOT the subject matter for the Workshop.

LOCATION; KINSMEN Room, Meridian Community Centre, 100 Meridian Way, FONTHILL, ONTARIO

TIME; 9:30am to 3:00pm (Doors open at 9:00am for setup)

Peter Cheung Workshop 9:00am to 4:30pm

WORKSHOP FEE; Member Fee = $65-00 Non-Member = $75-00

GENERAL:

*Member Registration Confirmed Once payment Received in full

*Material/Supply List emailed to all Registered Students prior to workshop, as outlined and detailed by Visiting Instructor

*All Art Supplies are the responsibility of the Member or Non-Member to purchase prior to workshop date.

*Bring Personal Paints, Brushes, Paper towel/rag/towel, Paint Palette

*Packed Lunch or snack and Beverage

*Registration fee is non-refundable 48 hours prior to the start of the workshop.

workshop fee & POLICY

Member Fee = $65-00 Non-Member = $75-00

Payment deadline for All workshops will be no later than 1 (one) week prior to Workshop Date. Payment can be made by Cash, Cheque or E-transfer. This policy will help the P.A.A. with student numbers and the distribution the Workshop supply list.

PAYMENT OPTIONS

ALL PAYMENTS/REGISTRATION; Lynn Di Paolo – P.A.A. Treasurer

email – treasurerpelhamartassociation@gmail.com

E-TRANSFER; Email to : treasurerpelhamartassociation@gmail.com

PLEASE include “your full name, “Title of Workshop“

CHEQUES – payable to Pelham Art Association

CASH PAYMENT

CASH payments must be made 2 weeks prior to Workshop Date

WORKSHOPS 2025-2026

15 November 2025 – CANCELLED

HOW TO PAINT AN EMOTIONAL WINTER LANDSCAPE

Kinsmen Room – Meridian Community Centre – 9:30am to 4:30pm

PETER CHUENG – OIL or ACRYLIC

21 March 2026

JIM GUMMERSON – ACYLIC LANDSCAPE

Biography – Jim Gummerson

Hamilton-based painter James Gummerson, after attending Sheridan College of Applied Arts and Technology, embarked on a remarkable artistic journey. After working as an Illustrator, he shifted his focus towards creating captivating paintings that explore the harmonious coexistence of nature and the urban landscape. His works have graced galleries and shows across Canada, earning him recognition and numerous awards. In 2020, James was invited to showcase his talent on the CBC TV show ‘Landscape artist of the year Canada,’ where he impressed as the wild card winner of episode one and emerged as a runner-up in the finals. His artistry has also been featured in prestigious publications, further cementing his reputation as a distinguished artist. James draws inspiration from the serene charm of quiet side streets adorned with majestic old trees, vibrant community gardens bursting with life, and the enigmatic allure of back alleys. His paintings beautifully capture the interplay of dramatic light and captivating skies against the backdrop of daily urban life. With his unique perspective and artistic prowess, James Gummerson continues to captivate audiences with his evocative and thought-provoking artwork.

Obviously everyone wont have all these items and paints specifically BUT I think the most important is the 20 x 20 canvas and some sort of Gel medium to show how I do the impasto style. Acrylic Paints or Oil Paints: these are my suggestions but variations on these colors will work as well depending on brand of paint. I use “Golden Heavy body” paints so a paint Hue that is similar to these will be fine. • Prussian Blue • Phthalo Blue (green shade) • Phthalo Blue light • Cadmium or Quinacridone Red • Cadmium Medium Yellow • Cadmium Light Yellow • Yellow Ochre • Burnt Umber • Raw Umber • light magenta • medium magenta • a large tube of Titanium white You do not necessarily need to bring: Orange or Green paints as we will be learning to mix our own. Also any other colors you want to add. Small tub of Liquitex or Golden Heavy body Gel Medium or equivalent. – This a gel medium that we use to mix with our acrylic paint to make it thicker and extend volume of paint. There are similar products for oil although Oil doesn’t need it because it is thick in consistency already. It comes in Gloss and Matte and various thicknesses. I use “Heavy” Gloss gel but you can use “super heavy” and matte for example if you like. Brushes: • some flats and filberts 1/8 to 1” suitable for acrylics or oils • some rounds brushes, small medium and large sizes. • 1 medium size square canvas 20 x 20 inch • Palette for mixing colours • Rags or paper towel • Pencil

18 April 2026

JOHN ANDERSON – ACRYLIC/OIL LANDSCAPE

John will print and bring high quality reference material. As is my practice, I don’t want anyone to do any drawing in advance. However, if they wish to bring an iPad, I can give them the image at the time.

Canvas size should be 12 x 16 up to a 16 x 20 for more experienced painters.

Materials:
Essential Colours –
Alizarin Crimson or Permanent Rose
Cadmium Red Light
Cadmium Yellow Light
Cadmium Yellow Medium
Cobalt Blue
Ultramarine Blue
Transparent Earth Red or Transparent Red Oxide or Burnt Sienna
Titanium White

Additional colours that I use…not essential or necessary but I use them in Oils or Acrylics

Cadmium Orange
Quinacridone Violet
Mixing White

Medium for Oils, Winsor and Newton Liquin Light Gel

Medium for Acrylics – Matte Medium, not matte gel

Paper towels or rags

Brushes – Flats. #12, #8, #6, #4, #2

Palette Knife

Palette – 12 x 16 Palette Pad is preferable – I have glass palette

Table easel or stand-up easel

T.B.A. MAY 2026

GLORIA KINGMA – PASTEL

“Creativity is contagious. – Pass it on!” — Albert Einstein

PAST P.A.A. WORKSHOPS

LINDA KEMP

ESSENTIAL WATERCOLOUR LANDSCAPE Negative Painting

email address: studio@lindakemp.com

DATE ; 16 NOVEMBER 2024

Essential Watercolour Landscape – Negative Painting

Conjure the spirit of the landscape in this innovative watercolour program. Discover secrets and strategies for interpreting and simplifying the landscape as you build your painting from the ground up with overlapping bands and interlocking shapes. Keep it fast and loose as you build your paintings following a simple plan that captures the feeling and ever-changing moods of the landscape.

In this new program, we begin with an experimental underpainting using evocative colour and painterly marks to build a foreground. The skyline emerges as we reveal and conceal with intriguing passages and layers.

You will learn negative painting strategies and the successful sequencing of transparent glazes and velvety opaque to create a luxurious patina and gentle glow in your work.

Investigate the strategic placement of captured negatives and the establishment of minimal hard edges, ushering your artwork gracefully into a soft-focus. Explore brushwork techniques for creating textures and subtle transitions of delicate tints and muted hues and how to layer lost and found edges to suggest windswept meadows and distant trees.

Whether you choose to create your masterpiece on location, from your vivid imagination, or through the lens of your photographs, you’ll be captivated by this elegant, alternative approach to landscape painting that will redefine your artistic journey.

*** PETER CHUENG – OIL or ACRYLIC

email address; Petercheungart@gmail.com

*** JOHN ANDERSON – ACRYLIC

https://www.johndavidanderson.ca/

DATE; 15 MARCH 2025

* JIM GUMMERSON

DATE; 12 APRIL 2025

Obviously everyone wont have all these items and paints specifically BUT I think the most important is the 20 x 20 canvas and some sort of Gel medium to show how I do the impasto style. Acrylic Paints or Oil Paints: these are my suggestions but variations on these colors will work as well depending on brand of paint. I use “Golden Heavy body” paints so a paint Hue that is similar to these will be fine. • Prussian Blue • Phthalo Blue (green shade) • Phthalo Blue light • Cadmium or Quinacridone Red • Cadmium Medium Yellow • Cadmium Light Yellow • Yellow Ochre • Burnt Umber • Raw Umber • light magenta • medium magenta • a large tube of Titanium white You do not necessarily need to bring: Orange or Green paints as we will be learning to mix our own. Also any other colors you want to add. Small tub of Liquitex or Golden Heavy body Gel Medium or equivalent. - This a gel medium that we use to mix with our acrylic paint to make it thicker and extend volume of paint. There are similar products for oil although Oil doesn’t need it because it is thick in consistency already. It comes in Gloss and Matte and various thicknesses. I use “Heavy” Gloss gel but you can use “super heavy” and matte for example if you like. Brushes: • some flats and filberts 1/8 to 1” suitable for acrylics or oils • some rounds brushes, small medium and large sizes. • 1 medium size square canvas 20 x 20 inch • Palette for mixing colours • Rags or paper towel • Pencil

Kaitlin Mason – BIO

Originally, Kaitlin started college in an interior design program and later switched to the Fine Arts program at Georgian College in Barrie Ontario. After graduating, she transferred to NSCAD University in Halifax Nova Scotia, where she earned her Bachelor of Fine Arts degree. Currently, Kaitlin works out of her home studio in a small town north of Toronto.

Kaitlin’s drawings capture the essence of fabric in its current form, creating a visual record of a moment in time. She uses coloured pencils to create each of her drawings, gradually building vibrancy and saturation of the colours by adding several layers. The wood panel substrate adds additional organic detail, creating a subtle background to the fabrics, and visually pushes the intricate patterns forward.

Throughout history drawing has always been considered to be a preliminary stage before the beginning of a masterful project. Although still true, drawings can also evolve into masterful works of art, pushing the limits of the materials and thinking outside the box can result in a unique work of art. This workshop will explore a combination of coloured pencils on wood panels to draw patterned fabric. By using techniques like layering and blending, as well as troubleshooting tips, you’ll be able to create your own individual still life drawing of fabric.

Bring your own pencil, eraser, and sharpener, all other supplies (including wood panel, transfer paper, sand paper & required Prismacolor Premier Pencils) will be available to purchase the day of the workshop.