The Importance of the Pictorial Process (Online Course) Spring 2026 w/ Miguel Coronado

April 30 to May 28 (Thursdays), 2:00 PM to 4:30 PM, Eastern Time

**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.

Please check your email spam/junk folder for your Zoom invite. Our business hours are 10:00 AM through 5:00 PM. All course information and email correspondence will be sent during business hours. If students purchase a course, workshop, demo or recording outside business hours or during the weekend the course information or recording will be sent the following business day.

DEMO: https://www.youtube.com/watch?v=nuNAO_pcEiY

*This course will have an English interpreter for Miguel

Course Description

Use the logic of the painting process and discover the advantages of working in multiple sessions, allowing the paint to dry. We'll discuss the importance of learning to simplify and construct images schematically. We'll work on color harmony and discover the brushstroke as a fundamental technical resource for growing in pictorial narrative.

In addition, we'll reinforce the practical work with an analysis of the work of some master painters.

Course Outline

2.5 hours of online classes over 5 days.

Demonstrations will be held on days 1-4.

We will see presentations with examples from other artists.

Examples of the process of other completed paintings by Miguel Coronado.

Analysis and commentary on students' work.

Students will need reference photographs. The subject can be the same as the course to facilitate understanding of the concepts presented. The instructor will provide some of their reference photos that students can use if they wish. These photos will be available before the start of the course. They may also use their own photographs. It is recommended that the reference photos be of good quality and show a modeling without excessive contrasts and a broad range of colors.

It is important that the reproductions of the exercises that students submit for analysis during the course be made with good resolution and not be small.

The lighting used to reproduce the painting is very important. It should not be in front of the work, but rather from the side to avoid uncomfortable reflections.

Week 1 -

Introductory video on the language of painting with images of the work of some masters and my own work.

First demonstration session.

Questions and concerns.

Explanation of the assignment and how to proceed.

Week 2 -

Critique of the students' exercises, second demonstration session.

Questions and concerns.

Explanation of the assignment and how to proceed.

Week 3 -

Critique of the students' exercises, third demonstration session.

Questions and concerns.

Explanation of the assignment and how to proceed.

Week 4 -

Critique of the students' exercises.

Demonstration summarizing the entire process.

Questions and concerns.

Explanation of the assignment and how to proceed.

Week 5 -

Final critique of the students' exercises and conclusions about their results.

Question time and time to share the course experience, highlighting the most interesting aspects.

Course Materials List

10 – 20 sheets of A4 or A3 cartridge paper.

3- 5 plywood/ MDF boards 20x20cm or bigger. Primed with 3 layers of acrylic gesso or oil-based wood primer.

Set of gouache or acrylic paints;

Hot and cold primaries

White

Umber/ Burnt sienna

And if you want to work in oils; (recommendations)

White

Raw Umber

Ultramarine blue

Cerulean blue

Cadmium red

Magenta

Lemon yellow

Cadmium yellow

Davy’s Grey

Range of brushes;

Flat with soft bristles, usually sold as ‘for acrylics’

2-3 old t-towels or cotton t-shirts to cut up for rags

Odourless White Spirit (for cleaning brushes)

Pure turpentine

Thixatropic fast-drying oil paint medium

3-4 old china bowls or glass jars for holding spirits

Large palette – old piece of light coloured formica, or white coated particle board.

Objects for Still-Life; jars, bottles, coloured fabrics,

Directional table-lamp