March-May Model Schedule

Did you know? We offer life drawing and costumed model painting every week! 

This is a great way to enjoy the art store, meet fellow artists, and improve your artistic talents in a fun way. Sessions are open to painters and drawers of all skill levels (painters please use Gamsol). The studio is a relaxed environment with easy lighting, music, and hot coffee and tea to enjoy at leisure. Bruce Vanderwilt, studio moniter, is available to answer any questions. Bring your own materials, pull up a chair, and unleash your inner artist.

Join us for an upcoming session!

Mondays - 1-4PM
Wednesdays - 6:630-9:30PM

Mondays - 6:30-9:30PM

16 – Tracy
23 – Toni
30 – Ruth

18 – Len
25 – Mike

6 – Yoni
13 – Ruth
20 – Yoni
27 – Vanna

1 – Jim
8 – Paul
15 – Paul
22 – Ruth
29 – Jim

4 – Stacy
11 – Tracey
18 – Vanna
25 – Sherry

6 – Daniel
13 – Mike
20 – Ruth
27 – Paul

Models are subject to change due to cancellations. For 100% accuracy, call us at 949-369-6603


Interview with Artist, Sculpture, and Workshop Instructor, Regina Hurley

SCAS: Tell us the basics: Where are you from? 

RH: I was born in Youngstown Ohio and came to California with my parents and siblings when I was 10 years old.  We came across the country by station wagon camping and landed at Doheney State Beach. I've been in orange county ever since.

SCAS: What type of art/medium if your favorite to work with?

RH: I have been known to master many of the mediums. Watercolor, oil, acrylic, drawing and then sculpture of course. In sculpture I've worked extensively in bronze and Clay, with some stone carving. Currently I am up obsessed with painting on porcelain, particularly small murals.

 SCAS: How long have you been sculpting? How did you get into it?

RH: I have been sculpting professionally for about 30 years.While earning a  BFA in painting, I fell in love with Sculpture after having 2 classes in sculpture.  Before returning to school for my MFA in sculpture, I created numerous bronze sculptures including a life-size sculpture as well as a monumental size.  

SCAS: Why do you like teaching? Do you have a particular style of teaching? 

 RH: I like teaching because I feel I have something to offer and people enjoy learning. I teach by lecturing, demonstrating and then helping each student with their particular need.

SCAS: We're excited about your workshop. What skills we learn? What will we do? 

RH: The skills taught are clay handling techniques and tools to use.  I have taught figurative sculpture for 25 years and have developed successful techniques for teaching  the student to understand and capture the anatomy in clay. You will learn to sculpt the human head and also firing techniques to make it permanent.

SCAS: If we want to sculpt at home, do we need tons of supplies and space? (a studio with clay, a wheel, a kiln etc.) 
RH: The supplies are simple. For this class, little working space is needed. Of course if you were going to make large sculptures life size etc. you would need a large space to work in.  To make the sculptures permanent a kiln is needed. I offer the students to fire in my kiln for a small fee.

SCAS: Anything else you want to add?  

RH: This class is also beneficial to painters and those who love life drawing, to better understand the anatomy of the portrait.  Please check the syllabus I sent for more information.

SCAS: Once again, thank you! We're so excited to have you sharing your skills with our artist community. 


Framed Brushes in a Shadowbox

     We recently saw framed fountain pens in a magazine and decided we wanted to create a similar sample. Since we also sell art supplies, what better object to frame than brushes! This technique can apply to vintage objects, collections, and more. We demonstrate stacking techniques, inlay, pen lines, and handmade applications. This a step by step process of framing these three brushes in a shadowbox.

First we chose these frames. They aren't deep enough, so we created a deeper frame out of wood. We will show you how we created that in a few more steps.
This is the screen for the Wizard, it is like a Mat board cutting version of Photoshop, but using measurements instead of images. It creates windows, v-grooves, pen lines, and designs based on how we create a project. We took into account the size of the brushes, how far away they needed to be spaced, and how big of a border around so we could fit foam core and mat board a shadowbox strips inside with the objects.
Here is the Wizard Drawing perfect pen lines for the mat board.

Finished mat board with tiny stands.
Our framer Chris then used the Wizard to create cutouts to resemble shelf brackets. They were stacked three at a time to hold each side. He measured each space and glued down the brackets so that the brushes could be nicely placed. He then glued the brushes to the brackets so they stayed in place. Sometimes we use silicone or something less permanent so that the objects can be removed if needed.

Chris adding tiny bits of glue to the stands.

After the mat was created, we had correct measurements to build a frame. In this case, we used a fillet, two small frames that were stacked, and handmade wooden sides to make a deep shadowbox.

After Chris cut the frames on the saw, he attached the handmade box.

Patrick made a wood frame, drilled holes, and connected the frames together to form a deep shadowbox. He then sanded it smooth. Modeling paste was used to cover the separation of the two frames and let it dry. He created a faux wood texture on the sides for interest.

After the modeling paste dried, Patrick painted the sides gold and then applied a brown glaze to show the texture. It blends nicely with the original frames. Its great having an Artist in the frame shop!

Below, Chris needed to create mat board sides to hold the glass in place while allowing the brushes to sit back in the frame. He went to the next level and created an inlay design with the mat cutter.  The pattern then sits between two solid mat board strips on each side to imitate the look of a wood inlay.

After setting the Museum glass in, he set half inch foam core strips into the frame. They were then staggered on the sides so each corner had a clean edge for the viewer.

After cleaning the glass and blowing any excess dust out, he then placed the brushes and mat inside the frame. We backed it with acid free grey paper and wire sufficient for the weight. 

Here are a few photos of the finished product!