Critique Club is a welcoming space for artists of all levels — from beginners to established professionals — to bring in their artwork for feedback and discussion. The club is not just about receiving critique; it's also an opportunity to engage thoughtfully with fellow artists, share perspectives, and grow together through open conversation about each other’s work. We hope you will join our supportive community!

Held on the 3rd Tuesday of every month. December 16, January 20, February 17, March 17, April 21…

6-8PM

FREE EVENT ALTHOUGH REGISTRATION IS REQUIRED

It’s requested to only bring one piece to allow for time to be distributed evenly to all participants.

Please arrive on time or contact @_tinaborsht (on Instagram) if you are late as the door will be locked and you will need to be let in.

Why paint plein air?

Plein air painting gives us an opportunity to paint directly from our genuine lived experience.

As painters we become more deeply engaged with more natural and subtle color relationships, as well as learning from and anticpating the changing nature of the day as the sun moves across the sky. It’s an exhilarating experience that allows us to feel more deeply grounded and engaged with the world in front of us.

In this two day plein air workshop, participants will gain a soup-to-nuts overview of the plein air experience, from how and where to set up on the streets, to how to capture the beauty of the town, to how to create a harmonic composition and make a joyful painting.

We will work together to gain understanding of fundamental principals of painting, such as tonal relationships, color theory and harmony, perspective and composition.

I will be giving short demos each day as well as working one on one extensively with each participant!

Pete Sinjin is a Brooklyn, NY based artist who has taught numerous  plein air workshops in NYC and Italy

Suggested Plein Air Supply List

Paints

Titanium White

Pyrrole Red or Cadmium Red

Yellow Lake or Cadmium Yellow Light

Ultramarine Blue

Extras if desired, not required

Ivory Black

Alizarin Crimson Permanent

Burnt Sienna

Yellow Ochre

Painting Materials

Assorted Bristle Brushes Flat or Filbert, Sizes #2,4,6,8

Linseed Oil

Paint cups or jar with lid

Rags or Paper Towels

Sketch Book

Graphite Pencils

Portable Plein Air Easel - Either French Easel or Pochade Box with Tripod

Join artist Jennifer Domal for a festive Pysanky Egg Ornament Workshop, where you’ll explore the ancient art of Pysanky — decorated eggs created with a beeswax resist technique on real shells. Rooted in early Slavic traditions, these intricate designs once served as symbolic talismans, carrying blessings of love, fertility, and health. Using simple tools, you’ll “write” your own patterns onto the eggshell, preserving this rich cultural heritage while adding your personal touch. By the end of the workshop, you’ll take home a beautifully hand-painted ornament, perfect to display in your holiday decorations for years to come.

Intro to Acrylic Painting with PCAD Professor, Jason Ward

• Saturday December 13th 10am-4pm

• $100

 This workshop is for anyone who wants to begin working with acrylic paints. This basic class will serve as an introduction to the paints themselves, and what makes acrylic painting different from oil or watercolor painting. We’ll cover strategies for setting up a palette, and how to organize and mix colors. Most of our time will focus on application and technique. To achieve this we will be working with a simple single object still life. Students should have their materials ready to work at the beginning of class. Class will begin with an introduction, then move to a brief demonstration, and the remaining time will be spent painting. The still-life reference will be provided by the instructor. Min 4, Max 10 participants

 Materials List:

• Acrylic Paints: Titanium White, Burnt Sienna, Burnt Umber, Cadmium Red, Cadmium Yellow, Ultramarine Blue.  All other colors are optional

• Brushes: A variety of brush sizes and shape, as well as, both stiff and soft bristle are recommended.

• Palette Knife: I use medium/small metal diamond shaped palette knife for both mixing and application of paint.

• Artist Palette: A proper wood or glass palette is recommended, palette paper will work fine for this workshop.  Please avoid creative substitutes (such as watercolor palettes, paper plates, anything wrapped in tinfoil, etc.) as they tend to cause problems during the painting process.

• Surface: A primed and stretched canvas, or hardboard panel is best of oil painting. A heavy bodied paper, such as watercolor paper, will also work.

• Lint Free Rags or Paper Towels

Observational Painting with PCAD Professor Jason Ward - Single Class

• Wednesday, November 5th - 6-9pm

• Students may sign up for a single class for the November 5th class at $60, or the entire 3 week course for $140 (Email Info@LancasterArtVault.com for the 3 week course)

This course will help students strengthen their observation painting skills. To do so we’ll look at how to design a compelling composition. To achieve this we’ll learn to simplify what we see while using both linear and atmospheric perspective. Students will develop a sensitivity to light, color, and tone that will bring a feeling of mood to their work. The course will also cover material handling and how to represent different surfaces and textures. Students who complete this course will have an understanding of the artistic principle that will help them when working directly from observation. Min 4, Max 10 participants

 Materials List:

• We Acrylic Paints: Cadmium Red, Cadmium Yellow, Ultramarine Blue, Titanium White, Burnt Umber, Burnt Sieanna, Windsor Newton make good quality inexpensive acrylic paints.

• Brushes: A variety of brush sizes and shapes for Acrylic paints.

• Palette Knife

• Palette: Glass, wood, or plastic artist palettes are best, a pad of palette paper is fine. Avoid water color palettes, paper plates, tin foil, or other non-palette surfaces

• Canvas, Panel, or Heavy Bodied Paper surface: canvas will need several coats of gesso to give a smooth surface, Masonite, MDF, or Birchwood panel may only need one or two coats of gesso, Watercolor or Bristle Velum paper may only need one coat of gesso *Note paper may curl or wrinkle while applying gesso, if so keep your coats thing and press paper under weight for a few hours.

• Water Jar

• Paper Towels

Observational Painting with PCAD Professor Jason Ward - 3 week course

• Wednesdays, November 5, 12, 19 - 6-9pm

• Students may sign up for a single class for the first class, or the entire 3 week course

• $140 for the 3 week course or students may sign up for the November 5th class as a single class for $60 (email Info@LancasterArtVault.com for a single course option)

This course will help students strengthen their observation painting skills. To do so we’ll look at how to design a compelling composition. To achieve this we’ll learn to simplify what we see while using both linear and atmospheric perspective. Students will develop a sensitivity to light, color, and tone that will bring a feeling of mood to their work. The course will also cover material handling and how to represent different surfaces and textures. Students who complete this course will have an understanding of the artistic principle that will help them when working directly from observation. Min 4, Max 10 participants

 Materials List:

• We Acrylic Paints: Cadmium Red, Cadmium Yellow, Ultramarine Blue, Titanium White, Burnt Umber, Burnt Sieanna, Windsor Newton make good quality inexpensive acrylic paints.

• Brushes: A variety of brush sizes and shapes for Acrylic paints.

• Palette Knife

• Palette: Glass, wood, or plastic artist palettes are best, a pad of palette paper is fine. Avoid water color palettes, paper plates, tin foil, or other non-palette surfaces

• Canvas, Panel, or Heavy Bodied Paper surface: canvas will need several coats of gesso to give a smooth surface, Masonite, MDF, or Birchwood panel may only need one or two coats of gesso, Watercolor or Bristle Velum paper may only need one coat of gesso *Note paper may curl or wrinkle while applying gesso, if so keep your coats thing and press paper under weight for a few hours.

• Water Jar

• Paper Towels

Painting and Drawing from Photographs - Intro Single Class

• Wednesday October 1st - 6-9pm

• Min 4, Max 10 participants

• October 1st Intro Single Class is $60/pp (5 week course available - email Info@LancasterArtVault.com

Staging photographs to be used as references takes careful planning. This course will help students develop strategies for how to compose and take Photographs intended to be used as reference for traditional drawings / paintings. We’ll discuss what makes a good Photographic reference and how it complements observational study. This course covers methods for translating Photographic images into drawings / paintings and material handling techniques that help traditional drawings / paintings achieve a level of Photographic realism.

Painting (Oil/Acrylic) Materials List:

• Paints: Cadmium Red, Cadmium Yellow, Ultramarine Blue, Titanium White, Burnt Umber, Burnt Sieanna, Windsor Newton make good quality inexpensive acrylic paints.

• Brushes: A variety of brush sizes and shapes for Oil/Acrylic paints.

• Palette Knife

• Palette: Glass, wood, or plastic artist palettes are best, a pad of palette paper is fine. Avoid water color palettes, paper plates, tin foil, or other non-palette surfaces

• Canvas, Panel, or Heavy Bodied Paper surface:  Canvas will need several coats of gesso to give a smooth surface, Masonite, MDF, or Birchwood panel may only need one or two coats of gesso, Watercolor or Bristle Velum paper may only need one coat of gesso *Note paper may curl or wrinkle while applying gesso, if so keep your coats thing and press paper under weight for a few hours.

• Water Jar

• Paper Towels

Drawing Materials List:

• Students may choose to work with either Charcoal or Graphite

• Pencils and Graphite Sticks: A range of leads from H-B’s is recommended, however a classic #2 pencil is hard to beat.

• Charcoal: Soft vine charcoal, compressed charcoal sticks, charcoal pencils, and charcoal powder are all recommended.

• Erasers:  A kneaded eraser and a rectangular white eraser are both great. I often use pink pencil cap erasers.

• Artist Sandpaper Block or Stump: A great tool for toning a surface, and sharpening pencils and charcoal sticks.

• Surface: For graphite I recommend a heavy bodied hot press paper such Bristol Vellum. For Charcoal, a heavy bodied charcoal or watercolor paper will work. My preferred paper for charcoal is Rives BFK.

• Paper Towels and Artist brushes: For blending

Painting and Drawing from Photographs with PCAD Professor, Jason Ward - 5 Week Course

Staging photographs to be used as references takes careful planning. This course will help students develop strategies for how to compose and take Photographs intended to be used as reference for traditional drawings / paintings. We’ll discuss what makes a good Photographic reference and how it complements observational study. This course covers methods for translating Photographic images into drawings / paintings and material handling techniques that help traditional drawings / paintings achieve a level of Photographic realism. Min 4, Max 10 participants

• Wednesdays, October 1, 8, 15, 22, 29 from 6-9pm

• Students may sign up for a single class for the first class, or the entire 5 week course

• $220 for the 5 week course or students may sign up for the October 1st class as a single class for $60

Painting (Oil/Acrylic) Materials List:

• Paints: Cadmium Red, Cadmium Yellow, Ultramarine Blue, Titanium White, Burnt Umber, Burnt Sieanna, Windsor Newton make good quality inexpensive acrylic paints.

• Brushes: A variety of brush sizes and shapes for Oil/Acrylic paints.

• Palette Knife

• Palette: Glass, wood, or plastic artist palettes are best, a pad of palette paper is fine. Avoid water color palettes, paper plates, tin foil, or other non-palette surfaces

• Canvas, Panel, or Heavy Bodied Paper surface:  Canvas will need several coats of gesso to give a smooth surface, Masonite, MDF, or Birchwood panel may only need one or two coats of gesso, Watercolor or Bristle Velum paper may only need one coat of gesso *Note paper may curl or wrinkle while applying gesso, if so keep your coats thing and press paper under weight for a few hours.

• Water Jar

• Paper Towels

Drawing Materials List:

• Students may choose to work with either Charcoal or Graphite

• Pencils and Graphite Sticks: A range of leads from H-B’s is recommended, however a classic #2 pencil is hard to beat.

• Charcoal: Soft vine charcoal, compressed charcoal sticks, charcoal pencils, and charcoal powder are all recommended.

• Erasers:  A kneaded eraser and a rectangular white eraser are both great. I often use pink pencil cap erasers.

• Artist Sandpaper Block or Stump: A great tool for toning a surface, and sharpening pencils and charcoal sticks.

• Surface: For graphite I recommend a heavy bodied hot press paper such Bristol Vellum. For Charcoal, a heavy bodied charcoal or watercolor paper will work. My preferred paper for charcoal is Rives BFK.

• Paper Towels and Artist brushes: For blending.

Alcohol Inks are a highly fluid color that are vibrant and fast drying. They are also moisture-resistant and permanent once dry, and will work perfectly on almost any clean, oil-free surface. Alcohol inks can be used to make stunning paintings on a variety of non-porous surfaces. These concentrated inks are alcohol-based and waterproof. They are semi-transparent, which means they can be layered and combined to create gorgeous effects. Ann will show you several techniques on a variety of different substrates, and give you ample time to create your own beautiful pieces. No experience is necessary to dive into this beautiful medium!

Saturday, November 22, 1-4PM

$90/ per person; all supplies included

Discover the Magic of Wet Felting with Ellen Silberlicht!

Unleash your creativity and transform wool into art! Join resident artist Ellen Silberlicht for an imaginative deep dive into the vibrant world of wool! Whether you’re new to felting or looking to expand your skills, these workshops offer an inspiring hands-on experience in fiber art where you’ll learn the enchanting techniques of wet felting.

• Thursday, November 6th 5:30-8:30PM -Create a Fanciful Fish in 3-D
  Dive into whimsy as you bring a colorful, three-dimensional fish to life! Explore textures, patterns, and forms while mastering wet wool felting techniques.

Perfect for beginners and seasoned makers alike—come create, experiment, and leave with something uniquely yours!

Each class is $125 (all supplies included). Please note: the majority of each class will be spent standing. Comfortable shoes are recommended.

About Ellen Silberlicht

Ellen’s creative journey began with clay and evolved into a lifelong exploration of fiber, form, and fearless expression. A RIT alumna with deep roots in ceramics and fiber arts, Ellen brings joy, experience, and a contagious spirit of play to every class. Her hands have been crafting since childhood, and her work—whether made of clay, wool, or mixed media—radiates exuberance and resilience.

Now based once again in Lancaster, Ellen invites you to discover the tactile joy of felting, one delightful layer at a time.

Spaces are limited—register early to secure your spot in this joyful fiber adventure!

2nd Tuesday of every month from 6-9PM. Registration Required

Join Lancaster Art Vault for a Figure Drawing session with a live model for beginner and experienced artists (Adults 18+ only). Next Sessions: Tuesday, October 14, November 11, December 9, January 13…

Sessions are uninstructed & artists must bring their own drawing/painting supplies. Tables and easels are available.

Each session is 3 hours and costs $20.

Lancaster Art Vault is located at 100 North Queen Street, Lancaster.

Email Info@LancasterArtVault.com for more information.

Minimum 5 participants for session to be held.