STUDIO AND PROGRAM SERVICES
Six ways a surface becomes a shared story.
Private art commission coordination meets integrated studio program systems design under one roof at 1873 S Carrigan Cir. Collectors order original work, portrait families book sittings, and learners of every age step onto the bench to build their own confidence with paint.
How the studio serves you
Each service below is a full working program, not a bare promise. A fixed brief, a tracked schedule and a mid-point review protect every project from drift, and the commissions book keeps the whole studio honest.
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COMMISSION
Private Commission Paintings
The heart of MagsArt work. A collector meets with the studio to describe a scene, a place or a feeling they want kept. The studio researches reference material, proposes surface sizes from twelve inches to forty across, and fixes a transparent price on the slip before work begins. A small sketch study is delivered first so the direction is agreed, then the main canvas is underpainted, reviewed again at the half-way mark and finished with archival varnish. Standard commissioning runs four to ten weeks depending on scale, and rush delivery is only booked when the drying schedule can still protect the paint film. Deposits hold a slot, and final balance is due when the collector approves the completed piece at a studio visit or virtual review.
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PORTRAIT
Portrait Sittings and Studio Visits
Portraits live or die on a relaxed subject. The studio books private sittings in the Carrigan Circle north-light room, usually two to three visits of about ninety minutes each, with the first visit spent purely on conversation, pose and light. Parents bring children, grandparents bring firm chairs, and couples sometimes share a single double portrait across both of their faces. When distance forbids sittings, high-resolution reference photography is arranged, though the studio prefers at least one live visit to catch the true warmth of the skin tones. A completion visit lets the sitter see the surface in person before the glaze settles, and many families return each few years to chart growth, graduation and anniversaries on the same easel.
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PLEINAIR
Plein Air Workshop Weekends
Spring and fall bring the full bench outdoors across northern Utah. The studio leads plein air weekends at canyons, reservoir banks and historic streets, capping groups at ten painters so each easel gets a fair share of critique. Saturday teaches tonal blocking under shifting light, and Sunday refines one canvas into a finish using the color-notes taken the day before. A take-home palette guide is included, and beginners are fully welcome because the method starts plain: squint to see shapes, mix fast, and let the weather decide the deadline. Support gear, umbrella rigs and a covered pack rack make the weekend comfortable even on gusty ridge lines. Frames and finishing are offered on-site so a sold-out weekend painting can go straight to the wall.
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CLASS
Kids and Teen Studio Classes
Confidence is the real medium taught here. Class programs run in eight-week terms across three bands: a junior group from six to nine, a middle band from ten to twelve, and a teen studio for thirteen to seventeen. Juniors build color mixing and big brush control through playful still lifes; the middle band layers in value studies and a self-portrait; teens take on composition, limited palettes and a finished exhibition piece. Every term closes with an open wall where each painter hangs two canvases and talks about the process to friends and family. All materials live in the studio, aprons are provided, and class sizes are capped near eight so the instructor reaches every easel each session. Students who finish a year often move straight into the adult workshop list.
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FRAME
Frame and Finishing Coordination
Finishing coordination closes the loop between wet canvas and dry wall. The studio applies archival varnish once the paint film is fully cured, chooses a moulding that strengthens the composition rather than competing with it, and fits conservation-grade backing and hanging wire. Collectors can approve a wheat-wood or darker umber moulding from sample corners held in the studio, and the whole fitting is done in-house to avoid shipping surprises. Floating frames, plinth mounts and multi-canvas diptych arrangements are all part of the vocabulary. Delivery within the Salt Lake metro includes placement on the collector wall, level and lit, and a care card explaining how to dust and future-clean the surface so the piece holds its color for decades.
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SHOW
Seasonal Gallery Showings
Twice a year the rack empties onto the studio walls for a proper showing. The spring showing in April and the autumn showing in October each last a full weekend, with a collector preview on Thursday evening and public hours from ten to four across Friday and Saturday. Each showing features four to eight new canvases plus a live palette demonstration at midday on Saturday. Works on the wall are offered first to returning collectors, and a quiet reserve sheet lets guests record interest without pressure. The showing is also the launch point for the next commission season, so requests placed during the weekend are scheduled earliest. A short printed catalogue with process notes is handed to every visitor as a keepsake of the day.