I N M Y S T U D I O:
RECENT WORK and WORKSHOPS!!
"ANOTHER CUP OF TEA" (Original photograph source)
Private commissioned piece. Acrylic on canvas inspired by Edward Hopper's "Automat." 1927- Seen here |
"ANOTHER CUP OF TEA," 2019, San Francisco California
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2022 STUDIO WORKSHOPS...
LIVE IN-PERSON or ONLINE
My tenet: It dictates that not all artists are at the same level, so we value and encourage artists at ALL levels and artists at ALL ages. Our 2022 workshops are customized to accommodate the schedules of individual students or corporate groups. For more information and scheduling a workshop at your pace, use the CONTACT button to write an email. To call us, reach us at the studio; 818-999-5628. Please leave us a message if unavailable.
Example of the online workshop. I demonstrate with one overhead camera on the art piece and another on me as I work.
A DEEP-DIVE EXPLORATION OF ART...There are limitless paths to follow. Working with me, we explore the process of creating art in three basic steps.Step One- Planning
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ON SITE...THE MARIN CENTER
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The First Step: Planning
I decide what medium/s I will use, trying hard not to stall out from indecision. Time often dictates that. For sketching pencils, charcoals and pastels are all immediate. Water-based medium/s offer a drying time that doesn't hang you up and you can really get in to the specific details. Your substrate will affect your detailing. If you paint on canvas with visible linen texture it will likely look different than if you use an illustration board or wood. Priming with Gesso in several layers and sanding in between will help.
Second Step: Preparation
Pull your supplies and materials together with a check-list. Set up your workspace, whether it is in studio or onsite.
If your working on a computer everything you need is at your fingertips, so this may not be relevant to you. For 2 and 3 dimensional artists prep is paramount.
Third Step: Execution
For each composition in studio or onsite, I am in control of the environment. Often I see something that I want to grab a quick photograph of on my "smart phone." Back in the studio I consider tweaking any distortion of the subject matter that might have come from that camera. They tend to cause the scene to fish-eye and flatten out the depth. I think of most of my compositions as a theater stage with background, middle ground and foreground. All elements of the piece will be affected by this. Color, detail, texture and value all change in a scene from far away to close up. Get those wrong and your work will be in vain. What ever I do I keep that in mind. I can always alter things in most mediums but watercolor can be tricky. Sometimes it's best to leave a mistake in the piece or just start over. As most masters of art will tell you, YOU are in charge of the art.
I decide what medium/s I will use, trying hard not to stall out from indecision. Time often dictates that. For sketching pencils, charcoals and pastels are all immediate. Water-based medium/s offer a drying time that doesn't hang you up and you can really get in to the specific details. Your substrate will affect your detailing. If you paint on canvas with visible linen texture it will likely look different than if you use an illustration board or wood. Priming with Gesso in several layers and sanding in between will help.
Second Step: Preparation
Pull your supplies and materials together with a check-list. Set up your workspace, whether it is in studio or onsite.
If your working on a computer everything you need is at your fingertips, so this may not be relevant to you. For 2 and 3 dimensional artists prep is paramount.
Third Step: Execution
For each composition in studio or onsite, I am in control of the environment. Often I see something that I want to grab a quick photograph of on my "smart phone." Back in the studio I consider tweaking any distortion of the subject matter that might have come from that camera. They tend to cause the scene to fish-eye and flatten out the depth. I think of most of my compositions as a theater stage with background, middle ground and foreground. All elements of the piece will be affected by this. Color, detail, texture and value all change in a scene from far away to close up. Get those wrong and your work will be in vain. What ever I do I keep that in mind. I can always alter things in most mediums but watercolor can be tricky. Sometimes it's best to leave a mistake in the piece or just start over. As most masters of art will tell you, YOU are in charge of the art.
MY APPROACH TO WORKSHOP EXERCISES:
The workshop exercises vary from basic sketching techniques, tips and tricks to approaching a sketch and constructing a drawing or painting. Students receive a materials list to start. Second, we begin with basic elements of values, line, composition and construction. There are demonstrations with every workshop that the students can sketch along with or watch and learn. Q & A is encouraged along with critiquing that is all about positive reinforcement. Students are encouraged to suggest specific subject and focus of workshops to address their concerns and interests.
The workshop exercises vary from basic sketching techniques, tips and tricks to approaching a sketch and constructing a drawing or painting. Students receive a materials list to start. Second, we begin with basic elements of values, line, composition and construction. There are demonstrations with every workshop that the students can sketch along with or watch and learn. Q & A is encouraged along with critiquing that is all about positive reinforcement. Students are encouraged to suggest specific subject and focus of workshops to address their concerns and interests.
THE FOLLOWING PHOTOS ARE SOME SAMPLES OF THE WORKSHOP PROJECTS:
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FOR MORE INFORMATION ABOUT WORKSHOPS; INDIVIDUAL OR GROUPS AND SPECIAL EVENTS!
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