I like to draw from observation. I like to study what I see, and experiment with how I see it. My goal is not realism, my goal is to find and discover. Every time I look at something, even something I’ve drawn before, I see things I didn’t see before, things I didn’t expect to see, things I couldn’t have imagined on my own. It’s delightful, like watching some yet-unknown plant sprout, grow leaves, and flower in 20 minute increments.
EXERCISE THE FOCUS MUSCLES
Drawing from observation engages and focuses my scattered mind, while it relaxes my over-tense body. As soon as I start to draw, I remember how to breathe, and my shoulders go down.
Ruthie V. Study of sculpture by Gaston Lachaise
BUSY-NESS
With my fondness and appreciation for drawing, you’d think I do it every day, but I tend to have difficulty holding time for my art. Drawing is the first thing to go when there are other things to do, and there are always other things to do.
THE TIME IS NOW
One way I get myself to sit and draw is by hiring a model. I could get fruit or flowers, and that works for some artists, but for me the timeline is too slow – it doesn’t spark enough immediacy. If it is not NOW then it is never and before I know it, the fruit has turned, and the flowers wilted. When someone sits still just perfectly and waits to be drawn, that is a not-so-subtle cue to stop what I’m doing, and pick up my pencil. “The time is now.”
Ruthie V. Erased study of sculpture by Gaston Lachaise
THE BUDDY SYSTEM
I love to have people sit for me. It can’t be a friend though, because then I’ll wuss out and won’t make them sit like I need them to, certainly not for an hour. Who can make their friend sit still for an hour?!? On the rare occasion I could get 20 minutes, my friend would move around, and come out looking terrible, because one eye was there for a minute, and then their mouth was open, talking, and then they sat back so their ear ran into their nose. After all their sitting they want to themselves through my insightful artist’s eyes, and they tend to be rather put off by the result. So, friends are out.
NEW IDEAS
I’ve hired models before, and that is a wonderful luxury, but it does get expensive. I make deals to hire a model with a friend, and we did it once or twice, and then we got busy. Did you know? It’s actually cheaper to take an art class than it is to hire a model. Also, classes come with teachers, and I never tire of being introduced to new ideas. A little push here and there to keep me from going on auto-pilot.
TIMERS
The class format does something else for me that I find helpful: it sets a start and stop time. Not just for the whole class, but for each drawing. Without a time to start and stop, my focus drifts. I pick up my phone, look something up, lose myself. With increments of 20 I am more aware that time is precious, and allotted. It’s not time to rush, it’s just time to draw. 20 minutes. Take a break, see what others have done, get a dose of feedback and inspiration, and then – 20 more minutes. Continue like this for an evening, and I’m relaxed, happy, and tired.
Ruthie V. Hendri, 2021
ONLINE CLASSES
Here are a few of the drawings I made in classes at the League – a few drawings from my own class, and several from Fran O’Neill’s. Fran’s critiques are worth gold – so motivating! My time was protected, no one got mad their ear was in their nose, I was able to share my work and get feedback from friends, and I had a lovely time.
After sketching normally for 20 minutes, I decided to pep it up a little by drawing with both hands at once. That was more interesting for me, even though Hendri was sleepy. A little bit of warm and cool, to see the red pop forward. Ruthie V. 2021Ruthie V, Portrait of Jessica, 2021
[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” width=”1/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”8694″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”][vc_column_text]This spring, my Friday nights are going to be in an Unconventional Portraits class. These Friday night classes have become my night to do whatever I think would be the most fun thing to do. …
[vc_row type=”in_container” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ width=”1/1″][vc_column_text] Nearly 100 works show how an American post-war painter used a French master’s work as inspiration. BMA Exhibit Curated by Katy Rothkopf. Post edited from original post by Gabriella Souza on Baltimore Arts & Culture. Posted on October 20, 2016 They were painters separated by decades, continents, and …
[vc_row type=”in_container” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ width=”1/1″][vc_column_text] Richard Diebenkorn Diebenkorn was an American painter. His early work is associated with abstract expressionism and the Bay Area Figurative Movement of the 1950s and 1960s. His later work were instrumental to his achievement of worldwide acclaim. Wikipedia Born: April 22, 1922, Portland, OR …
Keith Pfeiffer is new to the Seattle Artist League. He comes from an illustration background, and is venturing to make his living as a fine artist. I met Pfeiffer when he joined the Effects of Light (Thursday) class, and I’ve seen him whip out a series of effective thumbnail studies faster than I can say …
20 Minute Increments
DRAWING FROM OBSERVATION
I like to draw from observation. I like to study what I see, and experiment with how I see it. My goal is not realism, my goal is to find and discover. Every time I look at something, even something I’ve drawn before, I see things I didn’t see before, things I didn’t expect to see, things I couldn’t have imagined on my own. It’s delightful, like watching some yet-unknown plant sprout, grow leaves, and flower in 20 minute increments.
EXERCISE THE FOCUS MUSCLES
Drawing from observation engages and focuses my scattered mind, while it relaxes my over-tense body. As soon as I start to draw, I remember how to breathe, and my shoulders go down.
Study of sculpture by Gaston Lachaise
BUSY-NESS
With my fondness and appreciation for drawing, you’d think I do it every day, but I tend to have difficulty holding time for my art. Drawing is the first thing to go when there are other things to do, and there are always other things to do.
THE TIME IS NOW
One way I get myself to sit and draw is by hiring a model. I could get fruit or flowers, and that works for some artists, but for me the timeline is too slow – it doesn’t spark enough immediacy. If it is not NOW then it is never and before I know it, the fruit has turned, and the flowers wilted. When someone sits still just perfectly and waits to be drawn, that is a not-so-subtle cue to stop what I’m doing, and pick up my pencil. “The time is now.”
Erased study of sculpture by Gaston Lachaise
THE BUDDY SYSTEM
I love to have people sit for me. It can’t be a friend though, because then I’ll wuss out and won’t make them sit like I need them to, certainly not for an hour. Who can make their friend sit still for an hour?!? On the rare occasion I could get 20 minutes, my friend would move around, and come out looking terrible, because one eye was there for a minute, and then their mouth was open, talking, and then they sat back so their ear ran into their nose. After all their sitting they want to themselves through my insightful artist’s eyes, and they tend to be rather put off by the result. So, friends are out.
NEW IDEAS
I’ve hired models before, and that is a wonderful luxury, but it does get expensive. I make deals to hire a model with a friend, and we did it once or twice, and then we got busy. Did you know? It’s actually cheaper to take an art class than it is to hire a model. Also, classes come with teachers, and I never tire of being introduced to new ideas. A little push here and there to keep me from going on auto-pilot.
TIMERS
The class format does something else for me that I find helpful: it sets a start and stop time. Not just for the whole class, but for each drawing. Without a time to start and stop, my focus drifts. I pick up my phone, look something up, lose myself. With increments of 20 I am more aware that time is precious, and allotted. It’s not time to rush, it’s just time to draw. 20 minutes. Take a break, see what others have done, get a dose of feedback and inspiration, and then – 20 more minutes. Continue like this for an evening, and I’m relaxed, happy, and tired.
Hendri, 2021
ONLINE CLASSES
Here are a few of the drawings I made in classes at the League – a few drawings from my own class, and several from Fran O’Neill’s. Fran’s critiques are worth gold – so motivating! My time was protected, no one got mad their ear was in their nose, I was able to share my work and get feedback from friends, and I had a lovely time.
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Keith Pfeiffer: Digital Paintings
Keith Pfeiffer is new to the Seattle Artist League. He comes from an illustration background, and is venturing to make his living as a fine artist. I met Pfeiffer when he joined the Effects of Light (Thursday) class, and I’ve seen him whip out a series of effective thumbnail studies faster than I can say …