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  • Registration Open
  • Instructor: Annie Murphy-Robinson
  • Dates: July 24-26, 2020
  • Materials: Listed one month prior to workshop
  • Cost – $549

12 in stock

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In this three-day, charcoal sanding workshop, students will be learning how to remove charcoal from heavy paper to create a wider range of grey tonalities.  We will be creating a community of learners ready to tackle a new and demanding approach to art. Students will work on drawing from a plaster cast using the sanding method. They will be working from photographic reference as well as from life.  Students can expect to learn all of the techniques required to create beautiful, rich black and white artworks; from minute details ( sanding tips, different grades of sandpaper and how to deal with “problem” areas) to toning larger areas.

11_Emily at the Crossroads

Workshop Schedule:


Friday, Day 1:

  • 9:00 – 4:00 - Workshop
    • Annie will begin the day with discussion and demo.
    • Students will continue to work on their artwork.
    • Annie will circulate through the group guiding as needed.

 Saturday, Day 2:

  • 9:00 – 4:00 - Workshop
    • Annie will begin the day with discussion and demo.
    • Students will continue to work on their artwork.
    • Annie will circulate through the group guiding as needed.

Sunday, Day 3:

  • 9:00 – 4:00 - Workshop
    • Annie will begin the day with discussion and demo.
    • Students will continue to work on their artwork.
    • Annie will circulate through the group guiding as needed.


What supplies/materials you will need for this class:

Exact supplies will be posted at least one month prior to workshop.

07_Casey Waiting

Registration is Open!

July 24-26, 2020

Payment Plan Available Upon Request



The technique that I now exclusively use, began about 17 years ago and involves sanding charcoal into paper as I draw. By using sandpaper to grind in and remove small amounts of material I am able to create finer details. Although I love the finished work, it is very labor intensive. I cover the surface of the paper with compressed charcoal and sand down to a light gray several times. By doing this, I change the inherent nature of the paper (which is an uneven “napp”) and make it uniformly smooth before I start drawing. I work from photographic reference (I take all of the photos) and employing the grid method, I start at the eye of the main subject and work out from there.

At the emotional level of my work, my main focus is to convey truth and honesty, and for me, the only absolute truth I know is of myself and my children. This truth is filtered through the lens of my own experience, often being bittersweet and questioning. In this age of filtered photos, social media posts and self promotion I feel the need to be honest and vulnerable.


My secondary concern is with beauty; aching, haunting and desirable. Everything matters, the wrinkles of the dress, the stains, the fur of the animals and the gaze. More often than not, my subjects meet the eyes of the viewer- inviting them to look and to connect with their own experience and vulnerability.


My work allows the viewer to glimpse a private world of the female- hesitant, insecure and often unaware of the power that they hold. My own experience as a young adult was both beautiful and traumatic. For me, this dark period of my life is always prevalent in my work in one way or another.  My art helps me recognize the importance of it and makes it worthwhile. Through drawing I take the power out of trauma and am no longer a victim.


I have discovered that when I draw what I know, what I love and what resonates with me I create authentic work. I validate my life and my experiences- good, bad and indifferent.  We all have a voice, we all have experiences- and with regular practice it will show up in the art. My advice is don’t wait for a good idea, don’t second guess yourself, do the work and it will come.

Supply List:

  • BFK rives paper, 300gsm printmaking (2 pieces) ( 22"x 30") (Amazon)
  • 1 each 3 pack ( hard med and soft Faber- Castell charcoal pencils (i each natural and compressed)
  • gummy eraser (prismacolor)
  • wet/dry sandpaper (800 grain and 1000 grain)
  • xacto knife
  • painters "delicate" thin blue tape

Studio Information:


Studio Location:

Kara Bullock Art Studio
145 W. Main St. Suite 110
Tustin, CA 92780

*FREE PARKING - located at studio


Airport Information and Other Hotel Accommodations Nearby:


Workshop Policies: Due to limited class size, payment is non-refundable, but is transferable ONLY if the workshop sells out. If you purchase a workshop and are unable to attend, AND if there is a wait list for the course, we will offer your spot to a person on the wait list. If someone on the wait list is able to take your spot, we will reimburse you your tuition, minus a $75 admin fee for handling the replacement.  If you are unable to attend the workshop, and the workshop has not sold out with a wait list, we will not be able to refund your purchase.


Cancellations: If the event does not reach the minimum number of participants, workshop may be cancelled. In the very rare event of an emergency or unavoidable natural disaster or act of God, the class may be cancelled. If this is to happen, all purchased workshops will be reimbursed to students in full.  


Contact Questions?  Email us at  We will respond within 24 hours.


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