Adrian Giuliani, PSA, IAPS-MC

Finding Your Freedom Through Observation, Exploration, and Joy

Live on Zoom (Weekly)

Monday’s 1:30-4:30 pm (EST)

In this weekly PSA Studio class, artists work from life to explore still life, florals, and self-portraits with a bold, fresh outlook.

The focus is on observation, exploration, and unlocking a sense of freedom in your work. Adrian encourages artists to see familiar subjects in new ways while building a strong foundation in drawing and observation. From that foundation, students are guided toward experimentation and a less precious approach to the creative process, allowing discovery and creativity to flourish.

Students learn how uncertainty and experimentation can strengthen their work, helping them trust their instincts and find joy in painting. The class supports artists in developing their own artistic voice while working fearlessly and with curiosity.

What You Can Expect:

Each session may include:

• Live demonstrations
• Presentations featuring master artists
• Open discussion and artistic exchange
• Individual feedback and encouragement
• Guidance in developing personal vision and confidence

Students work from life setups in their own studios and are encouraged to explore subjects through observation while allowing room for experimentation and growth.

Instructor Bio

Adrian Giuliani is an internationally award-winning pastel artist with over 40 years of experience working in the medium. She began studying pastels in high school under Flora Giffuni and later graduated with honors from the Rhode Island School of Design, where pastel became her primary medium.

She became a Signature Member of the Pastel Society of America in 2014 and achieved Master Circle status with the International Association of Pastel Societies in 2019. Adrian is known for her contemporary florals, still lifes, and expressive self-portraits.

Her work has received numerous honors, including recognition in the PSA Enduring Brilliance Exhibition and awards at International Association of Pastel Societies exhibitions. Her artwork is included in the permanent collection of the National Arts Club.

Adrian is passionate about teaching and sharing her creative philosophy. Through observation combined with freedom and experimentation, she encourages artists to approach their work fearlessly and discover their own creative voice. Her work has appeared on the cover of Pastelagram and has been featured in Pastel Journal.

Q & A

What do you hope students leave this workshop with

I hope students leave with a more expansive understanding of how the camera can serve their artistic vision rather than dictate it. The goal is to shift from treating the photograph as an authority to using it as a tool that enables what the artist wants to say. We will explore practical strategies supported by attitude shifts so students can build confidence in translating photographic reference into paintings that feel personal, expressive, and alive.

What makes this class unique or meaningful to you

Photographs can be incredibly helpful for representational work, yet they also trap many artists into copying mode. Not everyone can paint successfully en plein air or draw extensively from life, so incorporating cameras and computers as modern tools feels appropriate when they are used in service to the passion and voice of the artist. This workshop takes that idea seriously and gives artists permission to work from photos without being bound by them.

What draws you to teach

My first career was as a public school art teacher. When I shifted my focus to my own studio practice I assumed teaching was behind me, but a series of convergent experiences brought me back to the classroom. Teaching supports my artistic growth and provides a vital balance between the solitude of painting and my desire to share, support others, and build community. Connecting with students through our conversations and through their work is the most gratifying part of our time together.

What would you like prospective students to know

My priority in the classroom is to support each artist’s aspirations for their own work. I do not want students to feel pressured to work like me or to follow my path. I want them to feel empowered to find and develop their own.

Materials and Studio Setup

Artists may use the pastel materials they already own. A wide range of values is recommended, including lights, midtones, darks, and neutrals.

Commonly used surfaces include UART 400 grit paper and Pastel Premier Italian Clay sanded paper, though artists may use preferred alternatives. Very dark pastel values are helpful when working on darker surfaces.

Students should also have:

• Drawing tools such as charcoal pencils or vine charcoal
• Sketch paper
• A still life setup space in their studio
• A standing mirror for self-portrait work
• A small spray or squirt bottle for water effects
• A directed light source for setups
• An easel or suitable working surface

• Photographs printed or stored on a digital device to use as painting reference. Bring more than you think you will need. It can be helpful to pull elements or information from multiple photos. Bring a camera or phone if you wish to take photos during the workshop.
• Soft pastels with a broad selection of colors, including intense, greyed, earth tones, lights, and darks. Half sticks are welcome. Recommended brands include Schmincke, Unison, Sennelier, Terry Ludwig, Great American, Richeson, and Mungyo Gallery. The Richeson handmade brand is very good and reasonably priced.
• Pastel paper or board in white or pale tones. Surfaces must accept water-based media. Recommended surfaces include UArt, Art Spectrum Colorfix, Ampersand, or Richeson. Heavy watercolor papers, such as 300 lb hot press, may also be used. Colette often uses 4-ply Rising Museum Board coated with two thin layers of Golden Acrylic Ground for Pastel, diluted with water to a creamy consistency. Size and format are your choice.
• Basic watercolors, synthetic brushes, water dish, palette, and towels for underpainting. Avoid natural-hair brushes, as the prepared surface can damage them.
• Materials for sketching and note-taking. A camera or a phone for sharing or capturing images.
• Artist or masking tape in neutral colors.
• Newsprint or similar material to create a tray for catching pastel dust.
• Protective items such as apron, gloves or finger cots, paper towels, and wiping cloths.
• Any additional aids you personally like to use, such as viewfinders, color wheels, value charts, fixative, rulers, scissors or blades, and glassine or tissue for transporting finished work.
• Photographs of your artwork to share (optional)