Here are some highlights from the current classes being offered so you have an idea of what we did this week in class. If you missed class, this may be helpful.

If you are visiting town and want to take one of the classes, contact the studio at (802) 457-2020 to join us for the three hour session.

Individual classes are $45 per class.

Results for the first two guidelines for sketchbook drawings	Results for the third and foruth guidelines for sketchbook drawings

	We had an hour long session with Kim and Sarah, mother and daughter in the studio, drawing from life. Sarah was the perfect model! After drawing, we used photos and drawings to complete a watercolor of the mother and daughter.

Want to see what the other class is doing this winter?

FROM SKETCHBOOK TO STUDIO
10AM to 1 PM starting Thursday, January 7, 2010

Course objectives: To build a discipline for the artist that includes daily drawing. To explore how these visual ideas can be translated into more finished and more fully realized work. To understand the benefits of spontaneous observation coupled with intelligent planning: the integration of the heart and mind of the artist.

January 7, 2010 A SKETCHBOOK VS. THE STUDIO
Let’s first compare some of the ways we approach work in a sketchbook or in a studio. As artists, comfort can be both helpful and disturbing. We’ll begin with some drawing exercises after reviewing tbe syllabus. Then, through a demonstration, let’s explore how a drawing can be the “idea-gram” to begin a painting.

In class we went through some sketchbook exercises to prepare us for a week of drawing.
1. Draw the Object in front of you: Describe its volume in a media of choice. (pencil, pen?)

2. Draw TWO object and their relationships to one another. We found that often the brightest, most colorful object took our attention. To draw successfully, consider the SPACE between objects rather than only the objects themselves.

3. Photos of landscapes were passed out. Draw the photo: What is the subject? Are you drawing the subject OR the relationship of the subject to its surroundings? Choose a concentration: the light in the photo, the overall values or the lines in the image to concentrate on.

4. Flights of fantasy: Take the object you first drew and add it to the landscape. We looked at the artist Magritte to consider this imaginative approach to drawing. A sketchbook is a perfect place for you to explore the free flow of ideas. What would happen if a butternut squash fell from the sky and just missed the Cadillac?

5. Finally, watercolor a new depiction of the photo. Notice how quickly you can do this having gone through the process of drawing it a few times. Note the freshness of the image through the concentration of form rather than line. Decide whether you want to explore a new kind of sketchbook that lends itself to watercolor OR use water judiciously if you are using drawing paper. Either way, the book is a record of your observations of subjects and media.

HOMEWORK: Seek out your old sketchbooks. Take an afternoon to leaf through them all. Go through your old photographs and look for images that may inspire you to paint. Get away from the literal and consider that an image may spark a feeling, not just a subject to copy. Buy or break open a new sketchbook. Do a drawing or make a mark every day for the week and bring it to class. Bring in any photos or sketches of plants, foliage or flowers you may have on hand.

January 14, 2010 PLANT LIFE WE HAVE OBSERVED
You may have some photos or drawings of plant life you admire. What kinds of lines did you record? What made you take those pictures? Now that we’re in the studio, let the planning begin. See if you can utilize design elements to create a new dimension for your studio work.

We warmed up with a complex drawing of narcissi upset from their pots. First, the class was asked to write down their initial feelings about drawing. Then a "frame" was decided upon to isolate a part of the composition. Drawing the frame on the page is a useful way to become conscious of how the relationship between the objects and the edges of the picture plane work together. This becomes the basis for design in a composition.

HOMEWORK: Complete the painting begun in class or use some of the principles discussed in class to start and complete a new painting. Bring in any family photos and or sketches of family members. Continue doing a drawing a day in your sketchbook; start with still-lifes of fruit, flowers or objects in your home.

January 21, 2010 FAMILY CONNECTIONS AND PATTERNS
Mapping techniques can describe the process of events or a family tree. With pictures from your sketchbook, we’ll work on the process of linking images through the tools of pattern, color, line, form and geometry.

We began with a gestural warm-up. A series of large, continuous elipses with a pencil allowed us to focus on our back—yes! Drawing comes from inside: not the wrist or the arm, but the energy comes from our core. As we continued the drawing we ended up with a "life vortex." Consider the center, your point of birth. Consider all the subsequent lines the passage of time throughout your life until now. I asked participants to use aquarelle pencils to build in the emotional responses to various periods of your life within the vortex to describe childhood, adolescence, young adult and so forth. Interesting lines and responses to those feelings create a non-verbal response to this kind of self-reflection. (No image shown here.)

A second form of visual analysis perfect for sketchbook work is the family map seen here to the left. I asked the participants to draw a small shape that described themself in relation to the four sides of the picture plane. My shape is white and falls to the right of the plane. Next, we drew our parents. How close or distant people are to us emotionally determines their placement. As we began to build, we used color to "map" our relationship to people. For me, reds and oranges were used to indicate fractious relationships. Green and blue appear to indicate approachability. We found that the reverse was true for others in the group—reds indicated warmth, and cool colors described distance. As we connected siblings, cousins, aunts and uncles, a certain kind of family map was revealed. This could be the basis for a large scale piece or even a three dimensional mobile or sculpture. A sketchbook is a perfect place to play out these non-verbal ideas.

Using a more traditional approach to the sketchbook, we used an old photograph to find clues to our heritage. Seen here to the far left is my paternal grandmother, Mary Smucker Compton in a canoe in the early teens. I looked closely and drew what I could discern of her face. There are aspects of her facial structure that reminds me of mine. This is an interesting process to connect yourself to your ancestors while improving your drawing skills. We approached the drawing by looking a values and the shapes that defined the figure rather than simply line.

We finally used watercolor to create a sepia-tone to reflect the values in another "old photograph". Using a simplified palette and estabilshing the clear values for the figure allows us to use photographs to see the abstraction and simplification of form. A sketchbook is an idea place for us to experiment with these possbilities.

Two poems were read in class to consider this experience of connecting to our families through the sketchbook: "I Go Back to May 1937" by Sharon Olds and "A Ritual to Read to Each Other" by William Stafford. Sometimes for me, sitting down with a good poem elevates my thought process to a more creative place. The poet's use of metaphor inspires me to look at life differently than simply using my sketchbook to draw what I see. Keep a book of poetry nearby and read before you begin your daily drawing. Notice if it changes your approach to the work.

HOMEWORK: Complete your visual autobiography using the techniques described in class. Do at least one drawing or painting a day in your sketchbook.

January 28, 2010 DRAWING FROM LIFE—the clothed model
Bring your sketchbook to class and be prepared to work from a model. After completing several drawings, we’ll employ them in a larger studio piece to be glazed. Your studio work can depart from the initial sketches or you can use the tracing techniques to include the initial freshness of the sketched drawing.

Drawing from the model who is simply casually sitting in front of a group can be a challenge for any artist. When there are two heads, the challenge becomes more intense. You may want to look up the work of Mary Cassatt
who was an incredible impressionist painter of many subjects including women with children.

The watercolor was built up with six colors, all from Sennelier: Jaune Citron (Lemon Yellow), Vermillion, Quinacridone Gold, Bleu Cindre (Cinnerous Blue), Alizarin Crimson and French Ultramarine. Vermilion or Cadmium Red Light is critical to the rendition of believable skintone for a youthful face. Allowing the white of the paper to be revealed keeps the watercolor light and luminous.

We discussed the difference between a "colored drawing" and a watercolor. The drawing you see to the left is extensively shaded. Once I put it on watercolor paper with a 4H pencil, I had a strong basis for value. With the light source in mind, leave the white of the paper available as you build in subtle vermillion and washes. The adult may need a stronger hue, alizarin and ultramarine in the shadows and alizarin and lemon yellow in the flesh. Build from lights to darks. Use your sharpest brush with a dark neutral to complete the painting.

You can also take your sketchbook work and create an abstracted version of the drawings regarding the relationship of the two people and the emotions around them. Allow yourself to use the sketchbook to record and observe "data" and use your creativity when you get into the studio to enjoy the prospect of a fresh approach to your subject.

HOMEWORK: Using your drawings from class, you’ll complete a stylized rendition of the imagery you explored in class. How realistic do you need to be to convey a feeling and a mood? Bring in a series of images (photos and/or drawings) from a recent vacation. Yes, continue the process of recording images in your sketchbook, this week focusing on people around you.

February 4, 2010 TAKING A TRIP
One of the most common uses of a sketchbook is exploring a place. Once back in the studio, can you effectively combine all your memories of the place? How can color evoke a sense of the air, the feel of the sun or snow on your skin and the odor of this special place? Working from photos and/or sketches, we’ll plan a painting of your special place.
.HOMEWORK: Complete the painting begun in class. Bring in photos or sketches of animals you have a connection to. If you can, draw images of animals this week—go to the local pet shop and draw birds or visit the Billings Farm on the weekend to vary your vocabulary of the animal world. Working from your window on birds is fine too.

February 11, 2010 THE ANIMAL WORLD
Through drawing and observing value, color and form you will be able to describe the “personality” of your subject. Your drawings from the week will inspire a painting. Do you want to be graphic or naturalistic? What story are you telling with your studio work?
HOMEWORK: Complete the painting begun in class using some of the techniques described in class. Are you trying to achieve realism or are you departing from it? Spend the week drawing non-objective images in your sketchbook each morning upon awakening. Do not edit and give yourself permission to be outrageous.

February 18, 2010 YOUR DREAM WORLD
From one of your non-objective drawings, build on it to create an expression of yourself in the studio. Combine the drawing with one object found in the studio. We’ll work small this week building on ideas around color.
HOMEWORK: Using an object in your studio, combine that with another “dream image” to create a fantasy painting of your choosing. Do seven drawings in your sketchbook of your choosing. Is the sketchbook becoming a regular part of your day?

February 25, 2010 WHERE YOU ARE NOW
Bring in your sketchbook from the past eight weeks. You may have as many as 56 pages completed, or maybe simply a few pages filled with 56 images. And bring in your studio work as well. We’ll go over the work you’ve created with a final critique focusing on your growth as an artist in the two-month period.
HOMEWORK: Consider your spring schedule for another painting class.

Materials List for FROM SKETCHBOOK TO STUDIO
COMPTON ART
January 7, 2010
Brushes
Wash Brush, preferably sable, at least 1” wide also one that is wider of a week exploring a large painting
1-2 Round Brushes, sable or a combination acrylic sable in sizes 8, 10, 12 or 14 depending on how large you like to work.
Water containers—I use two; one small inside a larger one. We have some at the studio, but bringing your own will allow you get comfortable with your set-up, if you like. I use a larger Tupperware with a smaller one inside.
Board: You can use Gator Board, 1/4” plywood, or Plexiglass in a 13” x 17” size or so.
Paper: A range of paper in 140 lb. We will use mostly Cold Press. Five to eight full sheets of paper should get you through the whole class.
Bring a sketchbook suitable for drawing and/or watercolor.
Feel free to use it for notes in class as well.

EXTRAS:
• Filled Sketchbooks from your past.
• Photos from travels you’ve enjoyed, preferably ones that you have taken.
• Artist’s Tape (available at Cheap Joe’s)
• 1 roll Bounty Paper Towel (yes, it matters what brand it is!)
• Masking fluid, Natural Sponges
Watercolors
COLORS: The objective is to have nine primaries (three of yellow, red and blue respectively) in the three values: Light/Medium/Dark. We will discuss the properties of the paints throughout the class so that you can make more educated decisions about your palette. Use ONLY professional grade pigments: I prefer Winsor & Newton, Sennelier, Daniel Smith or M. Graham. Note the word “or” below: you really only need 9 though its always fun to have more!
YELLOWS: Aureolin or Lemon Yellow
New Gamboge
Quinacridrone Gold
REDS: Vermillion or Cadmium Red Light
Rose Madder Genuine or Permanent Rose or Opera
Permanent Alizarin
BLUES: Cinnerous Blue or Cerulean Blue or Peacock Blue
Cobalt Blue or French Ultramarine
Thalo Blue or Prussian Blue or Indanthrone Blue
Additional colors are fun to add but optional. Consider adding:
Burnt Umber Thalo Green
Burnt Sienna Indigo
Yellow Ochre Dioxinine Violet
Naples Yellow Sap Green
Viridian (Daniel Smith only) Chinese White
Cobalt Violet