What’s Wrong With This Picture?

HAPPY BIRTHDAY, TAMMIE!

Last week I took a small stack of pencil drawings to a framer because I have a show coming in the spring. As I was lining them out on his counter, I decided that there is something wrong with this picture. It isn’t anything I can put my finger on; I just don’t think it is good enough and I don’t know why.

One of the things I teach my drawing students is honest evaluations of drawings. We tell each other the truth (kindly, of course) because it is how we learn and grow. It is too hard to find flaws in one’s own work, just like it is impossible to proof one’s own writing.

This is what I heard:

  1. not enough darks
  2. weird road curve into the distance
  3. something wrong with the shoulder of the road
  4. edges of bridge arches too clean – should be more pock-marked for its age
  5. furthest pillars wrong size

I thought about just shredding the drawing. Please forgive me for inflicting this on those of you who bought a calendar – try to be brave through the month of February. At least it is the shortest month!

Then I thought that seeing the photos might help us all understand.

I actually worked from 3 photos, picking and choosing the best and most visible parts of each. 

This sort of dissatisfying result is probably because I worked from photos instead of standing there on location with a sketchbook. Of course, then I might have gotten run over, bitten by a rattlesnake or a mosquito with a nasty disease, gotten too hot or too cold or sunburned or maybe bugs would have landed on my paper or the wind might have blown it away.

I hate it when that happens.

Will I try to figure it out and rework the drawing? Probably not. I used spray fixative (actually called “Fixatif”, which on of my drawing students says ought to work on any marriage!) which makes it not erasable.

Color Bullies, Part 2

My advanced drawing students successfully bullied me into 2 oil painting workshops. We had a great time!

A rebel set aside her Sequoia painting that she began last week. This is of the Tetons from a photo she took. I painted the scene first so it would be a little easier for her. (I had the assignment of copying an “Old Master” during the 1/2 semester of painting I took at the local junior college – copying is a good way to learn.)

A rebel set aside her Sequoia tree to finish a painting of the Tetons that she began last year.

We had an overachiever who worked on 2 paintings at the same time.

An overachiever worked on 2 paintings at the same time.

Good job, E! You get an A for sure. No rebelling, one painting at a time.

Good job, E. You get an A for sure!

Turned out that two painters did choose the same scene. We put them side by side, and learned that the one on the left could benefit from stronger colors and more contrast, and the one on the right could benefit from more detail. Interesting exercise! (They look different in real life than on the screen because I had to mess with the photo because it didn’t look right because. . . . on and on and on. Never mind.)

Two painters ended up working on the same scene.

At the end of our session, it turns out that we had two rebels and five Sequoia trees. Yes, that is a cat, but the cat painter is actually drawing a Sequoia tree in pencil these days.

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None of these paintings are finished. They need more layers, more details, some color corrections, edges of canvas painted, signatures, and varnish.

This probably means there will be another painting session ahead.

Color Bullies

About twice a year, I allow several of my advanced drawing students to bully me into giving an oil painting workshop.

Sometimes everyone paints the same subject, and sometimes each person chooses her own subject. It is easier to teach when everyone paints the same subject. That way everyone benefits from the same instructions rather than having to wait until I get around to help individually.

Recently, the color bullies arm-twisted me into another oil painting workshop. I negotiated to get them to all paint Sequoia trees and the result was that I gave them several photos from which to choose.

OF COURSE every single participant chose a different photo.

Good start, E!
Good start, E!
Good start, A!
Good start, A!
Good start, L!
Good start, L!
Good start, M!
Good start, M!
Whoa, E, you are getting this, but why is your photo upside down?
Whoa, E, this looks great, but why is your photo upside down?? (Teeheehee, those of us who draw together know the answer to this.)
Go, A, Go!!
Go, A, Go!!
Wow, M, you are getting this and even listened to me a couple of times!
Wow, M, you are getting this and even listened to me a couple of times!
Hey, L, are you confused?
Hey, L, are you confused? (We insiders get it. . . how snobbish of us!)
Let's all go outside and marvel at the colors in the leaves.
Let’s all go outside and marvel at the colors in the leaves.

The color bullies and I had a great time. (You know I use the term “bullies” as an exaggeration, yes? These folks are truly wonderful, and we love painting together!) Stay tuned to see how the paintings turn out after session #2.

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12 More Reasons to Take Drawing Lessons

Drawing lessons from me, not just drawing lessons in general, although learning to draw from me might be a problem if you live in Oklahoma or Minnesota.

  1. Because learning to draw is on your bucket list
  2. Because you had a mean art “teacher” who made you feel like an idiot and you want to undo some of that psychological scarring
  3. Because you used to draw but think you might have forgotten how
  4. Because you don’t like the way you draw
  5. Because you don’t know how to draw
  6. Because your mom/wife/grandma/sister/husband/boyfriend made you
  7. Because you always thought it looked fun
  8. Because other people are having so much fun in drawing lessons
  9. Because you always said you’d learn new skills after you retired
  10. Because it is only $55 a month and therefore much more affordable than violin lessons
  11. Because it is safer than horseback riding lessons (ask Lou about this)
  12. Because I am a dang good drawing teacher

That’s really only 11 reasons, because #6 is NOT a reason to take lessons.

You can learn more about drawing lessons here.

 

12 Reasons To Take Drawing Lessons (from me!)

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“Armed”, pencil drawing by Lou Womack

Drawing lessons begin on Tuesday, September 6, 2016.

I might have a little space in a class or two, and can’t find my waiting list. Are you thinking about taking lessons? Here are 12 reasons to consider drawing lessons:

  1. Because you were told it would be a miracle if you ever learned to draw
  2. Because you want to be the first person who proves me wrong when I say that I can teach anyone to draw
  3. Because you want to be able to sketch ideas in order to design clothing
  4. Because you want to hone the skills you already have
  5. Because you need something to do
  6. Because you want to meet women (That’s what Ralph said.)
  7. Because you paint a little and your shapes look wrong
  8. Because you always knew you could if you had a little help learning how
  9. Because if you don’t pay me monthly, you won’t bother drawing
  10. Because you think it might help you sit still
  11. Because you are about to go to art school and are afraid you will look incompetent
  12. Because you are an elementary teacher and drawing skills are expected of you
  13. (a baker’s dozen, perhaps?) Because maybe you could get as good as Lou (see “Armed” above)

You can learn more about drawing lessons here.

 

Drawing Lessons

Since 1994 I have been teaching people how to draw. We don’t go outside and sketch. We sit inside and work from photos. We learn to break a complex photo into its basic shapes, how to start a drawing, to get all the shapes  and proportions right, how to shade so that it appears 3 dimensional and how to finish it off to be the best possible.

I have about 20 students, ranging in age from 13 to Too-Polite-To-Ask.

Everyone works at his own pace on the subject of his own choosing. We generally don’t doggedly copy photos but do some well-thought-out cropping, and in general just clean up the mess that real life consists of.

I encourage everyone to work from her own photos rather than things from calendars, magazines and the internet. Not everyone has a good camera or a backlog of photos, and often I will lend photos to my students.

Usually each person has an idea of what he wants to draw.

The main thing is this: PICK SOMETHING YOU LOVE BECAUSE YOU WILL BE STARING AT IT FOR A VERY LONG TIME.

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This is a grandson with a stuffed lion. Definitely a much loved subject!
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We have spent a great deal of time evaluating exactly what we are seeing here. That is one of the drawbacks of working from a photo taken by someone else.
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I warned him and warned him about the slowness of colored pencil, but he proceeded anyway. Just getting the gradation of blues, and getting it smooth, is taking F O R E V E R. That’s okay – we don’t have any deadlines.
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A perfectionistic animal lover is doing a fabulous job on this challenging conglomerate of squishy shapes and elusive textures.
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Stunning! Simply stunning. This is by a woman who began lessons about 9 years ago so that her watercolor paintings would be more accurate. She mastered graphite quickly and has been showing off with colored pencil ever since. She doesn’t need lessons any more, but I am ever so grateful that she continues to show up each week.
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No faces smaller than an egg! Sometimes my students are determined. So, I help them the best I can and we all learn. Those who are looking on in horror become determined to never draw a face smaller than an egg. What a challenge!
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Turned my back to help the other students for awhile and BOOM! FInal leaf, done. There’s a very dark background coming. . . that ought to slow her down a bit. Or not.
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The idea with this is to do one of the blossoms in color. That is one of my favorite ways to use color, and this is turning out beautifully.

Drawing Lessons

Since 1994 I have been teaching people how to draw. Each class has 3-5 people who meet together for one hour per week. There are 5 of these classes in Exeter at the Courthouse Gallery on Tuesdays. (but not in July, August or December)

Each person works at his own pace on his own drawing. Some have been with me for a month now, some for about 10 years. The only ones who don’t learn are the ones who quit too soon.

Everyone comes for a different reason. Here are some:

  1. To learn how to get their shapes and proportions more accurate so they can paint better.
  2. A desire to prove some art “teacher” wrong, who told them they have no talent. (Isn’t that mean!? Wasn’t the “teacher” there to help?? )
  3. A love of learning how to do new things.
  4. A desire for a new hobby.
  5. Always thinking it might suit them, and finally making the time to investigate that interest.
  6. Already knowing how to draw but needing a specific time and place.

Have a look at what some of my students have either just completed or are currently working on:

Spice Cat

joshlyn

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There are specifics about drawing lessons here. (Click on the word “here”).

My classes are full right now but you can get on a waiting list. Sometimes people do quit. I don’t think I drive them away. . . life changes, or they got what they came for and move on.

I Love To Teach People How To Draw

I love to teach people how to draw.

Every Tuesday afternoon, people come to the Courthouse Gallery in Exeter for lessons. Four people for an hour at a time, each one working at his own pace on his own drawing. (Yes, I know it is acceptable to say “they” as a singular pronoun now, but I cannot. Can not.)

Sometimes I demonstrate some drawing techniques to a group. Two weeks ago I did this for the Tulare Palette Club, a delightful and attentive group. I sort of talked a little bit too long. They were gracious, but told me to shut up at 9:05. It was very fun.

And occasionally someone makes an appointment and comes to my studio for a private lesson. This is also great fun. I find out why she wants to learn to draw and tailor the information to her specific needs.

Equal opportunity here: “his” in the 2nd paragraph, “she” and “her” in the previous. No “they”. However, the Theys used to live up the road from me. Had a sign in their front yard – said “The Theys”.

I am not making this up.

And I don’t make up stuff when I teach people to draw. I help them all learn, and we all have a great time.

Are you interested?

Here is a sample to whet your appetite:

Bandit

This pencil drawing is “Bandit” by Jennifer Logan. She has been taking lessons from me for about 3 years.

You can learn more here: Lessons.

Secret Oil Painting Workshop Part 2

Why “secret”? Because I don’t advertise and recruit. . . it is an insider thing for my advanced drawing students. I don’t believe I know enough to truly teach anyone how to oil paint. Instead, I view myself as one beggar showing a few other beggars how to find bread.

Let’s see how these other beggars did. . .

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M wanted to paint the Tetons from a photo she snapped on one of her many road trips. I painted it first so she could see what sorts of colors and brush strokes. (Mine is slightly visible behind the photo on the little easel on the right.) Then, she was off and running, just looking at the photo and mixing her colors from the primaries. She needs another session or 2 on this canvas to complete it. Phooey – I was hoping she would buy mine from me, Just messing with you, M. I am PROUD of you!!

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A chose a photo that I found a little intimidating. She wanted a black background which I knew how to help her with. She has a great eye for proportion, knows what chicks look like and is a bit perfectionistic. These are great qualities to paint in a realistic manner. This is after 2 sessions, and I think 1 more might do the trick. Isn’t this wonderful??

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L is amazing. She has painted with me several times, and is off and running. She paints on her own at home, and has plans to give these second two paintings as Christmas gifts this year. The orange wants more texture, but the pear might be finished. There is no stopping this woman!!

Secret Oil Painting Workshop

I’ve been oil painting since March 8, 2006, which doesn’t seem like enough experience to be teaching. However, several of my drawing students have asked me to conduct an oil painting workshop. I began doing this a few years ago, but only for my advanced students.

The participants need to understand proportion, perspective, values and my manner of teaching.. I need to understand where they are in their abilities, and how they learn. 

Oil painting is much harder than pencil drawing because of the added elements of color mixing, all the ingredients to manage and the less than cooperative, wet, flippy brush, but if a student has the understanding I listed above, they can achieve impressive results in just a few painting sessions. Four of the five participants had painted with me before, and we did two sessions together this year.

We work from photos as a matter of ease and convenience. Plein air or using real life set-ups doesn’t fit our space, abilities, or level of experience. I want my students to have success and to be happy with their results rather than leave a workshop feeling as if they wasted their time and money. I am too familiar with that sort of result and want better for my students.

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About 2 years ago, E asked me if she was ready to oil paint. I told her that she wasn’t. She kept working very diligently at her drawing skills, and this year she was ready to paint. We started with a simple subject – easy shape, few colors to mix. This is how it looked at the end of her second session. This photo looks a bit washed out compared to the painting because it is wet and shiny. But, still. . . pretty impressive! Her choice of background color truly complements the orange, since blue is the complement (opposite on the color wheel) of orange. Hey, Mr. Favorite Customer, aren’t you proud of your wife, and aren’t you glad she didn’t listen when you told her to give up on drawing lessons??

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J pulled out this canvas she had started last year and dabbed at it without any photo reference. I dug through my cat photos on hand and couldn’t find the one I was looking for. We found one that helped with cat face proportions, and then as she was packing to leave, she flipped her canvas over and found the very photo I had been seeking! It was how she started this painting a year ago, and then we both forgot. The second session of painting was more fruitful. Lots of life in those eyes!