Matisse Flowers + Patterns

- There are always flowers for those who want to see them - Henri Matisse

In this workshop the goal was simple, learn to recognize the essential and go with the flow.

It is easier said than done, but there are ways to simplify your approach to a subject and find your self in the mindset of less is more. With the works of Henri Matisse as a reference we try to focus on shape and color in the most basic of ways. We are not drawing nor painting - We are assembling shapes of color in patterns.

We start by pressing brush shapes on the paper as sketches. Looking at the versatility of our brush as we create leaf shapes with wet on dry and wet on wet technique.

Here are things to consider for the next exercise:

• wet on dry

• wet on wet

• hard edges

• soft edges

• less is more

• negative space

• fluid brushstrokes

• express thru color

• value and technique

• use ink as a partner to color

• balance

Focused on these ideas, we then sketch several pages (on sketch paper) with a sense of play and experimenting variations in technique, color, value, shape, brushstroke…

Taking risks and being open to making a mess means you are Fearless. If you are in play mode you are fearless - if you don’t have negative thoughts you are fearless. When you are fearless you realize that it is not about detail, you can see what is essential and you surrender the need to control. You are in the flow.

One Point Perspective

We begin with a drawing warm up exercise (10 minutes) 5 cubes and 5 cylinders in various positions. We will repeat this exercise every week to get a sense of our comfort level with this type of drawing.

The goal is to get familiar with the fundamental concepts of one point perspective but in a very elementary way. To really understand the basic elements that make this illusion work - we break it down to the simplest but key terms and draw simple exercises that show clearly what they are.

• Picture Plane

• Point of View

• Horizon line

• Vanishing Point

• Orthogonal lines

Once we reach this point - the sky is the limit. We can now begin to apply these principles plus the understanding of other perspective elements such as size, overlap, value and position to create new arrangements and complete One point perspective drawings.

Watercolor Holiday Cards 2

What a great time letting creativity loose. Using a mix of techniques we were able to explore several themes with spectacular results. Always remember that the key is to have a plan but still be able to experiment and explore with new ways of expanding your watercolor application or drawing method and combination of materials (mediums)

Now that you have a couple of formulas on how to put some of these elements and techniques together, the next step is - Take it further! Try narrowing in the style that fits your taste the most and revisit with new themes or new compositions.

Once you have tested several designs and techniques, you can select your favorites and make the prints you need to spread the holiday spirit.

Drawing Perspective

Here are some recommended exercises to familiarize your self with the principles of perspective.

Number one, Try drawing 5 different cubes in different positions. Use a box or book as your model.

Number two, do the same but with 5 cylinders.

We do this to have a point of reference to look back to to as we develop the way we perceive objects in space.

We continue with a simple exercise that shows the basic types of perspective.

• Overlap

• Size

• Placement

• Detail/Contrast

• Value/Color

• Linear

Finally, we apply a mix of these principles to create Illusions of space. Combining overlap with contrast or Linear with contrast. The idea is to get you going and create your own variations and combinations. Using simple shapes you can play and create your own illusions of space.

Watercolor Holiday Cards

A Fun and relaxing way to explore and experiment with your watercolor techniques - Make some Beautiful Holiday Cards -

Here is some of what we saw today in session one.

We begin by looking at design elements, Winter greenery and holiday traditional leaves and ornaments.

Simple design elements for card designs.

Some of the techniques we tried are very simple but with infinite possibilities. Wet on dry with no drawing, wet on dry with pencil drawing, wet on dry with ink drawing and wet on wet with the same variables.

The leaves and patterns we can create can be symmetrical or not, we can create color patterns or size patterns - All of the options open for complete personal creativity.

Once we can identify a few looks or styles that we find pleasing, we can focus on design and arrangement of these elements. The main question becomes - How much is too much or how much in not enough?

The answer will only be know by you. Here is where practice and experience comes into play. The answers will eventually become obvious if you learn to examine your work in terms of composition, design, line, color, balance etc…

This might one of your most valuable skills - Knowing when to stop.

When you consider adding text to your design, it is always a great idea to sketch out a few thumbnails and visualize the arrangement of text and design elements. Text becomes a focal point, so the way you design your text is very important when incorporating other design elements. Considering the size, color, intricacy and placement are very important for the success of your design.

Watercolor Portraits

In Session four of Watercolor Portraits we began by looking at techniques to manage hard and soft edges from our brush strokes. Using a flat brush to apply a flat wash wet on dry, we can control the type of edge on each brush stroke. Below you can see a couple of variations of edges from hard to diffused where we apply a semi wet brush to the edge in order to extend the edge of the water and allow the pigment to disperse. Timing is crucial and the moisture level of the paper is key.

Once we have our drawing - the next step is to map out light and shadow. This is a Notan image of our reference photo that shows the fundamental light and shadow shapes we must seek out and refine.

As we begin our watercolor painting, we plan the layers ahead by selecting the family of cool and warm colors we will work with. The fist was a cobalt blue layer very low in value. then, a second layer of the same pigment enhancing the darker accents. With the first warm color application - we are looking for the neutralizing effect of the complementing colors. From here we are pushing and pulling based on light and shadow. We push with cool colors very close to the original layer - and we pull with warmer colors of the same warm family. Keep your washes light in value because you will always have chances to deepen and develop as you add finishing layers. Do not get caught up in details - You should be looking for value shapes all the way thru.

Urban Sketching - San Francisco

Today we revisit a few basic watercolor techniques - washes.

Using wet on dry and wet on wet approach, we look to create a watercolor look that will fit our style.

Here are a few samples: from top left - a wet on dry flat wash overlapping the bush strokes.

Top right - Wet on dry flat wash adding water to the second stroke and using gravity to create a gradient.

Bottom left - Wet on wet using gravity to move the pigment.

Bottom right - A mix of wet on wet and wet on dry with spatter and water flicked on with my fingers.

Watercolor washes using different techniques plus a little gravity.

Next step - We sketch out a thumbnail looking for the basic composition, basic structure, main lines and basic shapes that will give us a strong foundation.

Thumbnail sketch to understand structure and shadows.

After understanding the structure and light/shadow we draw with light pencil and avoid adding detail.

Second - we apply the chosen wash technique that will set the foundation for our color work all the way thru. This should be very light and not overworked.

Next - with a second layer of washes, we define the shadows and expand the color.

From here, choosing the right tool or pen to apply your ink lines is very important - and once again - avoid overworking, there will be more opportunities to come back later on and add lines as you need them.

Finally, finishing your watercolor touches to give the subject the character you are trying to express.

The main thing to pay attention to would be - Knowing how much is too much before you get there. You can pace yourself and develop line and color step by step to better understand where it is you want to go.

I hope you find this helpful - Now, let’s give it a try.

Master series - Klimt

Our latest masters series - Gustav Klimt.

What did we look at:

- Looking at composition and the simple approach of basic shapes as the foundation of your overall setup.

- Line, Color, Pattern - How can you use these with your choice of technique application to create interesting portraits that come together strong?

- Looking for simplicity while trying to multiply the variables of line, color and pattern can be very difficult. Can you find a balance that satisfies you?

Learning from the masters means - knowing what elements or techniques you can pick up from them to use in your own work.

I hope you can take a closer look at Klimt - his compositions, color schemes and patterns and find something you would like to take into your own work.

Here are some images from our workshop.

New Class Offering

Gustav Klimt

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Ready to create a beautiful portrait in the style of Klimt? Join us for this creative session -

Gustav Klimt

Degas workshop

Degas - Memory Drawing -2 minutes

Degas Pastel - economy of color.

Using your memory to Draw

A Memory Drawing Exercise - It is a great exercise to help us become more aware of where we are placing our attention when observing our subject. Realizing there is a crucial step from observing to Drawing - and how to strengthen that step. This is not about how much we can memorize and then draw, it is about having evidence of what we see and how we are seeing it.

Having a strong drawing and then making the most important decision of all - when to stop. That decision is made more difficult when dealing with color. So, test yourself on how much you can hold back with color and have a finished strong piece can be a great way to make big steps to improve your visual skills.

Detail

Master Series

Drawing studies from Degas

Join us for a Drawing session with the Great master Edgar Degas. We will look at some of his masterpieces and apply fundamental or new techniques for drawing studies. For more info click on the link

http://www.artstudioutopia.com/art-studio-utopia/degas

Urban Sketching Sessions

Focus on perspective.

A simple understanding of the basic rules of perspective and how to find our vanishing points is one of the greatest tools to use when Urban sketching. It is very important to understand these rules in order to bend them or break them and still have a successful sketch.

Thumbnails are a very helpful tool, quick little guides to understand your composition and perspective lines.

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Tower Bridge sketch from USK London session

Use pencil to give yourself a solid guide in order to draw more confident lines.

Economy of line  in order to discover what is essential, and minimalism with color in order to showcase your line work and create great points of interest by using the white of the paper.

Big Ben sketch from USK london.

Try to draw loose and mostly semi-blind, placing all the focus on your observation and connection with the subject.

Make it Fun and experiment with different approaches in line, color and composition.

Join us for the next Urban sketching session in Rome. click on the link for more info.

http://www.artstudioutopia.com/art-studio-utopia/urban-sketching-in-rome

New Session Scheduled

Master series Matisse

Spend the morning drawing portraits and interiors inspired by the great master Henri Matisse. Bring your favorite drawing and painting tools and walk away with a beautiful art piece. Space is limited, sign up now.

Ongoing Series every Tuesday morning - Master Series and Urban Sketching.

The Delight of Figure Drawing

Over the next six weeks we will embark in a journey of Gesture Drawing and Studying the Human Figure.

Gesture drawing are quick expressive studies that aim to simplify the forms observed and finding the most essential Attributes of the form, We are looking for the essence of the pose.

One of our goals is to understand what the figure is doing and not just try to copy the figure. The key words that should come to mind as you draw are Rhythm, Action, Motion and Flow. The sequence of Gesture Drawings are as follows: We begin with 10 - one minute poses followed by 10 - two minute poses, 5 - five minute poses and finally 1 or 2 - 20 minute poses.

As always, the main idea is to find that beautiful sense of ‘Being at Play’ - I recommend looking at the infinite resources online and give it a try, Your Line quality will improve noticeably.

Instagram

Check out our instagram feed for all updates, behind the scenes and new works available. @artstudioutopia

Meditations in Watercolor

Continuing the efforts to reach the space that is both mental and physical simultaneously, where the product and memory of it, is laid down in watercolor and ink. Art as meditation. 

Original watercolors for sale available at the shop.

Eudaemonia

Happiness and being in the Now.

The Daily work of Sketchbooks

One of my greatest sources of peace comes from sitting with and open sketchbook and laying down the ideas and concepts that run thru my mind at any given moment. The process of years of practice, eventually comes forward and when you can see them laid out in front of you. It is the closest thing to a time traveling machine. The moments, ideas and even feelings of a page that was done years ago - have a vibration- I like to think; a purpose.

Summer sketches

It requires a lot of discipline to draw every single day. It is my way to meditate and go to the place my mind likes to go. Some days, when choosing the subject to draw becomes an obstacle, it doesn't get any easier that to visit a museum and just Go.

There is something about revisiting art history and intuitively selecting what to sketch. 

Here are some products of that exercise.

Ceramic heads

I found myself zoned out away from time and space -you know that place-  My hands natively pressing and pinching the clay. One thought for departure was volume of small heads, and as I played -I had visions of pre.columbian artisans and african mask makers.

This series contains 22 heads for wall mounting decor. Average size is 3 inches.