Weekend with the Masters

The second week of September I am taking a four day intensive seminar called Weekend With the Masters, organized by American Artist magazine.

The seminar is in Monterey, California, which is about a three hour drive from San Francisco. The location is a major plus because the seminar weekend is expensive, running about $1200 for four days plus the hotel and materials; saving on the additional airfare makes it more in the affordable range.

It is going to be a grand weekend and a reunion of sorts too. Some of the painters teaching at the seminar are friends that I went to school with at the American Academy of Art and the Palette and Chisel - artists who really raise the bar for this kind of intensive. It will be so great to see my friends who have gone on to lead successful fine art careers and catch up, while also learning a little more of their well honed painting skills. As you can imagine, I had a difficult time choosing who I would study with.

In the end, I chose to mix it up a bit with artists I am already well familiar with and artists that are entirely new to me, who come from differing schools of thought than what I have been trained in. 

Here are a few of the artists I will be studying with:

A full day lecture by Jacob Collins, the founder of the Water Street Atelier, The Grand Central Academy of Art and Hudson River Fellowship. I am so excited to finally be able to meet him and attend this lecture. He will be lecturing with Daniel Graves of the Florence Academy  and Joseph McGurl:

An evening painting demo by master alla prima painter Richard Schmid. I had the honor of attending the Palette and Chisel in Chicago while Richard Schmid was president of the art league. Schmid's lectures and demos changed my life...what more can I say? Richard will be painting artist Alexy Steele:

A full day of quick pose paintings with Sue Lyon. I have been a fan of Sue's since meeting her back in art school. She was always a really nice friend and even helped get me into the Palette and Chisel long ago. How could I ever forget! She was a great painter then and even better now (I even have a watercolor portrait she painted of me in art school. I'll post it someday.):

Drawing the portrait with David Kassan. Who can forget the famous you tube demo David did on the ipad  - http://www.youtube.com/user/DavidJonKassan#p/a/u/0/5OLP4nbAVA4. It will be really cool to learn from him. I love his work:

Lecture with Quang Ho. Of all the direct/alla prima painters out there, Quang Ho is one of my favorites. His still life paintings have not only a fresh feel but also incredible composition and sense of Zen. I dream of owning one of his works someday. Listening to his unusual philosophy about painting is bound to be an amazing learning experience.

Here is a little of his biography, in his own words:

"Realism and abstraction—it's all the same to me. The real essence of painting is the dialogue between shapes, tones, colors, textures, edges, and line. Everything else follows—including light, form, concepts, personal beliefs, and inspirations. For me, painting is a marriage between the mastery of those basic visual elements, the discoveries and understanding of visual statements (the search for what is true on a personal level artistically), and the trust in one’s own intuition and inspiration. Understanding gives rise to higher understanding. Working this way allows me to open the door to new ideas and inspirations. One day I may be interested in a color statement, the next perhaps a relationship of simple shapes, and the next an extremely complex arrangement of texture and edges—with every painting there is a singular visual thought to be completed." :

A full day of painting the figure with Daniel Sprick. Sprick is another of my favorite painters. I am really excited to paint with him!

I will break down my notes on this blog and show the work I did for each day. If we are allowed to take photos, I will post those too. I am eager to learn about the different philosophies and approaches to observational painting.

I am still continuing to work on my "Spring" painting, but my busy schedule has forced me to put it on hold until after this course. I have booked a model for the pose and will be taking reference photos. I am interpreting the form into an stylized figure with some bits of fantasy, which is my intention with this subject, but will explain why I need reference for this particular painting.

I also have two sculptures in the works, which I will post about once they are complete. One is a portrait of an older man and the other a greyhound - the first animal sculpture I've ever attempted. I'm not sure if either will turn out to be successful sculptures, but I'll post about it regardless.

I am eager to continue sharing the things I learn and experience on my blog.
Thank you for visiting!

San Diego Comic Con & Trickster!

BOOTH 1329!

My Sephilina pin up that I painted for Jamie Baker's comic, "Sephilina the Nauti Girl" will be on sale at his booth, #1329. The print alone is $15, but the book + the print are $20 - a $5 discount on the print!

ALSO only available at TRICKSTER:

FREE GIFT with Purchase of one of Jamie's books! 

I've been spending all week in the lab with ROCKET RABBIT AND THE PROFESSOR brewing up their secret special recipe ROCKET CARAMEL CORN! With every purchase of one of Jamie Baker's books or prints at Trickster, you will receive a FREE bag of Secret Recipe Rocket Caramel Corn! Available only THIS SATURDAY at TRICKSTER and while supplies last!

I will be splitting my time between helping out at Jamie's booth and helping out at Trickster. Please stop by and say hello!

Bill Cone Plein Air pastel workshop

-->

For Valentine’s Day this year, Jamie gave me a three day weekend trip to Bill Cone’s pastel plein air workshop in Idyllwild, California. :))

 If you are unfamiliar with Bill Cone, he is a Production Designer at Pixar and has worked on many of their films. His position at Pixar is similar to that of a cinematographer, but since the medium is cg animation, his concepts for lighting and atmosphere are painted and usually include both environments and characters for the film. This process helps not only the director to visualize, but also aids the production down the road when scenes are built and lit. In addition to his stellar filmography and illustration history, Cone is an accomplished landscape painter who passionately studies the behavior of light and color. To see some of Cone’s work, check out his blog HERE. (I highly recommend reading his thoughts and insight on the blog in addition to looking at his beautiful pastel paintings)

I have admired Bill Cone’s work for a long time being familiar with it through the various “Art of” movie books, and became more impressed when I went to his one man show of pastel plein air works at the Studio Gallery in San Francisco. I was delighted to learn that he also teaches workshops, and have since wanted to attend. I was so surprised when Jamie gave me a Valentine's Day gift of signing me up for the workshop, especially since I had tried to sign up myself and found the class full! :)

Bill’s approach to pastel painting reminds me of the impressionist style of thinking capturing the LIGHT and SHADOW, as opposed to the Classical Realist approach regarding documentation of exacting detail. Precise placement of detail is a lower priority in this workshop, the emphasis on capturing the light patterns, color temperature, atmospheric effects, composition and over all impression of the scene. Focusing on placement of each and every branch or leaf might be better suited to studio work afterward if one chooses to create a highly precise work, but while out in the field, prioritizing everything ELSE seems to work best. In fact, the scene really cannot be observed properly unless you squint down, do some interpretation, a few edits, and simplification to a degree.

(In fact, Scott Christensen's blog "Flow" also posted about this kind of editing and interpretation in landscape painting: The Fiction of Art.)
 

In addition to listening to Bill's approach to landscape painting, I learned what a fantastic medium pastels are for painting out doors. One of the best advantages is the physical property of the medium, large square pieces which force you to choose big shapes and commit straight away. The most difficult aspect for me was this very thing because I am so accustomed to fine detail work in figurative drawing and illustration at my job. I also like the idea of laying in color all around the picture for the purpose of being able to judge how correct each area is against another and adjusting as you continue to develop the scene. Much like alla prima painting, the first statements around the picture are increasingly accurate as experience is gained.

Bill recommended that we purchase a set of hand made landscape pastels from Terry Ludwig. After trying them, I see why; the feel of them is so rich and buttery, and make beautiful opaque marks in addition to softer more subtle ones. I bought the basic landscape set which seemed to have each and every color I need. A great buy!

Bill also required us to work on Canson Mi Tientes toned paper, Twilight and Tabacco (shown above). Some students mentioned that they like to work on sanded and toned pastel paper called Waichilus because it is more forgiving. I might try it in the future, although I rather like the Cansons (I also use it for life drawing). It took a few tries to get used to working on toned paper outdoors, as I was unaccustomed to using a dark surface. The best way to regard the brown surface is the think of it as your mid range value and work either up or down from there. Same with the blue paper, if the scene in front of you is higher key then it most likely requires the lighter blue toned paper. 

I must add here the rich brown tone might also work well for portraiture, as often times the shadows are a nice Transparent Oxide Red or Burnt Sienna-ish color. Most organic form has an undertone of warm, which is a good starting point for laying color on top.

Here are some of my plein air sketches from the workshop.

 

This painting was the very first I tried with pastels. I was uneasy and nervous considering that I had not ever used them before (except for ONE homework assignment way back in art school) and was used to working on white canvas rather than a deep brown color. Bill helped me punch up the contrast and showed me some ideas regarding technique with pastels.

I really struggled with this painting of the water and shore of the lake we visited on the second day. Bill does a lot of beautiful paintings of water and it's lighting effects (in fact, I'd say he's an expert on this). He helped me in a few spots, like the ground and gave me some tips in trying to get everything in all over the picture rather than in just ONE spot so that I can judge colors against each other and correct as needed.

Regarding composition, I learned that a distant view is more interesting when a sense of scale is achieved. In order to accomplish this, many landscape painters add a few foreground objects that we know are smaller than the thing in the distance. In this case there were a line of evergreen trees at the bottom of this scene. The scene might be more dramatic had I included them, giving the viewer a sense of how large and how distant the mountain top is.

This was one that I had to paint! I can't resist a figure in a landscape. Not sure I captured the scene, but it was certainly a joy to paint. 

I've thought since coming home from the workshop that I might expand my set of landscape pastels and add more colors. I am currently working on my "Spring" studio painting and would like to try a color study of it after I am finished with the pencil design. 

Bill's animation experience and pastel work got me thinking about the concept art for Disney animated movie, Fantasia. When I got home, I went through some photos I took (secretly) from a recent visit to the Disney Family Museum in the Presidio. I have seen these very paintings in books over the years many times, but was quite moved when I saw them in person. The technique is the same, focus on the LIGHT and shadow, done in pastels on toned paper. Inspiring, beautiful, and most importantly, connected to naturalist ideas. In fact, the reason I think these work is exactly that, because they are not only caricatures, but also based on light and natural form. (and isn't a caricature also based on natural form?)

If anyone noticed that my last post on my studio spaces has gone missing, there is a reason for that. I found more photos and decided to write a longer post. Will post again sometime this summer. Next posts will regard further process on my painting, "Spring" and also notes on "Structure/Form," which will include how I am trying to learn/think/approach the human form in sculpture and also some notes on flower painting and organic subjects.

Thank you for visiting!

The Seasons, "Spring" - Work in Progress, Butterflies and Bees Sketches

I made some progress on my "Spring" painting this past weekend by studying butterflies and bees. I have not previously studied either insect up close had some questions about how wings look in various positions.

  After studying some photos, I found three axises regarding perspective of the wings.

and here is a better illustration of the perspective lines:



I noticed that sometimes one of the blue lines moves closer to the main axis while the other stays farther away, usually the wing that is closest to us. Using this trick helps to draw wings in perspective, although I have not tried it in every wing position.





I also did some bee studies.





I will incorporate some of my favorite sketches of the butterflies and bees into my final pencil rendering for "Spring". But in order to finish the pencil rendering, I need to work on the main figure, which is what I will work on next. After I have finished some studies and finalize the figure, I will compose all of the elements in photoshop, print that out, and draw one final drawing, which will be the blue print for my painting.

It might seem like a lot of work before making my final painting - and it definitely is. Experience has taught me that the effort is worth it in the end. I enjoy the process of learning and discovering while working on a painting; the things I learn always stay with me.

Please stay tuned for more progress on my painting, "Spring". :))
In between posts about "Spring", I will also be posting about the workshop with Bill Cone I'm attending, and also my long promised post on some notes I've taken regarding Structure.

Thank you for visiting!

************************************************

Here is a documentary about bees that looks fantastic. "Queen of the Sun, What are the Bees Telling Us?"   In theaters now.

http://www.queenofthesun.com/

The art of sharpening pencils

 I went to the American Academy of Art, in Chicago, where I quickly learned the art of sharpening a pencil, charcoal, china marker, and any other writing instrument that can be sharpened to a point. At the time I thought it was over kill to sharpen my pencils to such an extreme as required by my professors. I soon realized the reasons and advantages for doing so.

The methods taught to me at the American Academy of Art were passed down from the previous generation of professors, most notably William H. Mosby, the academy's master artist professor and graduate of the Belgian Royal Academy, and the great Andrew Loomis, who also taught at the school during the 30's and 40's. Some of Mosby's notable students include artists Gil Elvgren, Bill Parks, Ted Smuskiewcz, Howard Terpning, and Richard Schmid, who credits Mosby as his most influential art professor. (I had the good fortune to study under Bill Parks and Ted Smukiewcz while at the Academy, and learned a lot watching Richard Schmid paint and dispense wisdom at the Palette and Chisel in Chicago - an amazing learning experience!)

It is the influence from Mosby and Loomis that no doubt caused my generation's professors to require their students to sharpen their charcoal sticks and pencils in such a particular manner. I am still amazed the information lived on in our era of deconstructivism and forever grateful that it has. As silly as it might seem at first, sharpening drawing instruments is an important feature in mastering dexterity and refining technique, and I encourage everyone to try it at least once or twice regardless of final intention, be it illustration, "fine" art, cartooning, or whatever.

I try all kinds of pencils for sketching, but particularly love col-erase in various colors (mostly brown or red) for preliminary drawings (a habit I picked up while working in animation) and Staedtler Mars Lumograph 100 series in 2H, H and HB for final lines. I don't care for electric pencil sharpeners because they will not go far back enough into the pencil. I like to expose a good portion of the lead, say just under 1/3 of the way from the writing end. Part of the reason for this is because once the lead is exposed, I can also use the side of that exposed lead for blocking in or textures. Pencil sharpeners, electric or otherwise, just don't do the job as nicely as a utility knife or razor blade does. I also find it quite meditative and zen to spend some time getting my drawing instruments ready and have come to love the process.

My typical drawing/sketching materials are from left to right:
staedtler sanding pad, col erase pencil, staedtler mars lumograph pencils in 2H and H, papermate tuff stuff eraser stick, olfa brand snap off utility blade, kneaded eraser (top right). 

I have tried many different types of utility knife over years, mainly using raw razor blades. Recently when I took Sadie Valeri's classical realism painting course, she suggested we purchase an Olfa brand snap off utility knife, one that I had not tried before and now quite like. I always carry these materials in a small bag in my purse and a sketchbook and at home I keep them in a bowl on my desk that I can sharpen the shavings into.

The technique is simple. Shave away the woody part until the lead is exposed.

Once the lead is exposed, sand the tip of the pencil using a sandpaper pad until sharp. By sharp, I mean really sharp, like a needle. The sharpest you can get it. It takes some time and practice to get it just right and there are bound to be broken points, which is completely frustrating. I always trudge ahead knowing that having those sharpened points will give me one less thing to worry about while i'm drawing.

I use the same method for drawing with charcoal. I like to use Nitram Fusains, medium to soft, but mostly medium. When I sharpen this, there is no need for a razor blade or utility knife, just sand paper. I always sharpen at least two pieces to a fine point and keep a raw square piece for textures and block in of large areas.

I've also recently started using sharpened pastel pencils, Faber-Castell Pitt brand. Same methods apply. However, this pencil is quite soft, being a pastel, and therefore when sharpened does not keep it's point as well. That's ok however, because usually when I'm working with pastel pencils I like to smudge a bit.

And when I'm sketching gestures or quick 5-10 minute poses, I like to use a red or brown china marker which I sharpen, unwrapping the paper around the wax lead. It was in art school, again, where we learned to draw with a china marker as the great illustrators did. China Marker (not sure why it's called by this name) is really fun and produces a lovely line. I like to use red and brown tones because those colors are usually the undertone color of organic material.

So many artists are passionate about materials and quite specific about the type and methods used. It makes sense, after all. Pencils, charcoal, pastels, inks, feel like extensions of our hands. We channel all of our energies into whatever tool is being used; I sometimes feel like the pencil is a part of my hand.

Toronto Comic Arts Festival: Pencil it In from Toronto Comic Arts Festival on Vimeo.

Happy drawing! :))

I am honored to be featured in this video with so many talented painters I admire! Thank you to artist Michael Guilmet for putting this together!

My painting, Peonies, is the first image on the video. It was a painting I did after finding incredible inspiration at an ikebana flower show here in San Francisco. Later, I painted some similar peonies I saw at the show from life. I never sold the painting (or many others on my website) because I chose to stop showing my work in galleries for many reasons. I still keep the passion alive for alla prima painting while I explore other facets of interest. Will come back to it someday soon.

Here is a list of the artists featured (notably the late Jeffery Catherine Jones):
http://www.feastpaintings.com/

A couple of quick sketches I did in my moleskine this weekend while visiting Mendocino. I used three watercolors: Vandyke Brown, Anthraquinone Blue, and Titanium White gouache.

My approach for these sketches was based on the previous post; I drew out the line work in light pencil, found the shadow areas (terminator lines), and painted only shadows.

My only regret in this exercise is that the moleskine sketchbook version I bought was not made for watercolor. The paper rippled a lot with the amount of water on the page, causing me to be annoyed and distracted from the details. Oh well...next time! All in all, Mendocino is an incredible place to spend time, especially when you are there with someone you love.

The Value Sphere, an exercise worth trying

I was reminded of how important rendering the sphere is when I took Sadie J. Valeri's two week painting workshop last January. Sadie had all of us render a sphere using graphite pencils on the first day of the workshop, and also as homework. Some of us rendered several by the end of the week. After the workshop ended I began some research on lighting conditions and thought I would share the details.

In lighting, there is a simple division between light and dark that is important to understand.

The term for this lighting effect is THE TERMINATOR. Regardless of whether you are interested in observational art or imaginary work, this simple lighting principle can be applied to great effect.

Once the terminator is indicated, there are several more effects to observe and understand, which I have indicated in the chart below. Many effects within the shadow can be observed, but does not necessarily mean they need to be rendered. Simplifying shadows into two values has a pleasant effect when rendering form because the eye does not dwell in the dark areas. Logic tells us that if the eye does not dwell there, then calling attention by over rendering shadows will break the believability of the form. That is not to say that the shadow areas are not important; they what hold a picture together (more on this concept in later posts):

I did this exercise with pencil two times, and then digitally in Photoshop. I found both very difficult and challenging in unique ways. I think my digital samples above, for instance, still need some work - and I will continue to try perfecting. I highly recommend doing both analog and digital; the traditional method helps build motor skills and sharpens the eye and digital is a good way to refine your wacom or cintiq skills. (I recommend using the soft airbrush at 30-50% opacity to build up tones)

1. BEFORE YOU BEGIN - traditional method: sharpen two graphite pencils, a 2H and H. Sharpen your pencils with an xacto blade taking off the woody part of the pencil and then use sandpaper to make a very very fine point. Use a pad of strathmore 400 lb paper with the cream surface, widely available in art supply stores (also great for drawing in general and also inexpensive). If doing this digitally, use the soft airbrush and follow these steps exactly using the smallest diameter of brush.

Finished sphere can have a foil behind it and an edge indicating a horizon line for a sense of place. Do this exercise more than once or twice! I have seen a noticeable improvement in my drawing/painting skills since having incorporated this exercise into my routine. There are other concepts about light and shadow that I have learned about that I would like to share and will do that in coming posts. In the mean time, have fun trying this! Not as easy as it looks ;) 

Good luck!