C l  i v e   P o w s e y / P a i n t  / D r a w  / P r i n t

 

 

Available Workshops and Courses

 

I now have a website devoted solely to instruction where course material can previewed or reviewed by students or art education programmers where there is also up to date information for times, dates and locations of course offerings. Please visit  www.clivepowseyartinstruction.weebly.com to see available workshops and courses. Below is a list of various course outlines.

 

The 5 drawing courses detailed below can be offered individually and each course can consist of 5 or 6 sessions.   These 5 courses can also be linked together into a series of 25-30 classes that cover fundamentals of drawing, with an emphasis on the human figure as subject.  The sixth course, 'Painting the Figure in Watercolour'  could further extend this series of courses, and facilitate bridging the gap between drawing and painting. Remaining courses are painting courses.

 

 

One: Drawing: The Basics

 

 

 

In this course you will explore basic drawing techniques that will allow you to accurately draw what you see with line and then render light and shade on form with shading and hatching.  Measuring of angles and proportions; perspective; modular drawing, planar drawing, shading and separating the effect of local colour from light and shade on form will all be explored.  Subject matter will include still life, architecture, machinery,  plaster casts of the human body, the human skeleton, and the nude model.  As well as looking at how concepts being studied are applied in the fine arts we'll also look at how they are employed in film, television, advertising and 3D programs.   Each class will begin with a slide presentation of prepared images to illustrate the concepts and exercises of that drawing session.

Click on a link below to review or preview images and summaries of class content:

 

Supplies:

A drawing board to accomodate an 18"x22" newsprint pad; 18"x22" newsprint pad; a couple of sticks of soft conte (2B);  General's compressed charcoal 4-pack, 2B, 4B, 6B; 2 Derwent pencil stub/conte holders (2 in a pack that hold different sized crayons); a kneaded eraser.

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Two: A Survey of Life Drawing Method 

 

 

 

 

 

The practice of drawing from life has merit for more than just figurative fine artists.  Anyone with a visual interest or activity that requires conecting the eye the mind and the hand can find life drawing stimulating and engaging. This course provides an overview of some of the classic life drawing methods and techniques used by artists and art students. Each class will follow the established trend in informal community life drawing sessions, starting with quick poses that gradually lengthen into a final long pose. We will use the short poses for experimenting with standard drawing exercises; gesture, outline, blind contour, contour, cross contour, modular drawing. In the longer poses we will concentrate our energy on constructing accurate drawings by measuring angles and proportions and employ classical modelling of form by shading and hatching.  Each exercise will provide an insightful way of seeing that doesn't depend soley on the optics of our subject matter. Knowledge of these exercises will effect your personal drawing style and understanding of form. Each class will begin with a brief slide show to outline examples of the concepts to be studied in the drawing session.

Supplies:

A drawing board to accomodate an 18"x22" newsprint pad; 18"x22" newsprint pad; a couple of sticks of soft conte (2B);  General's compressed charcoal 4-pack, 2B, 4B, 6B; 2 Derwent pencil stub/conte holders (2 in a pack that hold different sized crayons); a kneaded eraser.

 

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Three: Anatomy Drawing

 

In this course we work from the model in an unconventional manner.  Each week, after a brief slide presentation on concepts to be studied and some gestural warm ups we will proceed to study a particular part of the figure; the head; the shoulder girdle; the pelvic girdle, torso front and back; arms and legs; hands and feet.  Using our model, a skeleton and muscular diagrams we will try to describe by drawing and labelling observed muscular and skeletal landmarks on the surface of our figure. As well as looking at fine art and Renaissance drawing studies for anatomical cues, we'll also look to footage of animation walk cycles, movements in robotics, running athletes and animals for comparative anatomy. At the end of the five sessions you should have a comprehensive series of labelled anatomical drawings for future reference and a growing interest in both observing and drawing the engineering of human and animal anatomy.

Supplies:

A drawing board to accomodate an 18"x22" newsprint pad; 18"x22" newsprint pad; a couple of sticks of soft conte (2B);  General's compressed charcoal 4-pack, 2B, 4B, 6B; 2 Derwent pencil stub/conte holders (2 in a pack that hold different sized crayons); a kneaded eraser.

 

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Four: Myths, Memes and the Life Model

 

 

This course would be most interesting if you have completed the previous courses in this series or have life drawing experience and would like to practice from uncoventional life drawing poses. Usually when life drawing we ask our models to assume poses that display the body as a pleasant but meaningless arrangement of body parts. In this course we will try something quite different. Classes will start with a slide show and then proceed to drawing archetypal poses taken by a nude model. Our interest will be in studying and representing iconic poses that have been repeated, often for millennia, and that may be steeped with meaning. Our model will strike poses representing both the sacred and secular, the sublime to ridiculous, gods, saints, martyrs, angels, clowns, kings, despots, cover boys and girls and recurring characters from the art historical and photographic record, print, advertising, stage and film. As well as practicing drawing from unique and interesting poses, new insights might be generated for both observing and drawing representations of the human figure.

Supplies:

A drawing board to accomodate an 18"x22" newsprint pad; 18"x22" newsprint pad; a couple of sticks of soft conte (2B);  General's compressed charcoal 4-pack, 2B, 4B, 6B; 2 Derwent pencil stub/conte holders (2 in a pack that hold different sized crayons); a kneaded eraser.

 

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Five: Sustained Figure Drawing
 
 
 
 
This class will use one model in one pose for up to 15 hours of sustained drawing that will allow for a detailed representation including modelling and description of light and shade on form using classic drawing techniques.  Classes will always start with some gestures and brief drawings and proceed to the main pose for the bulk of the session. Participants might execute one elaborate drawing, or they might do several less finished drawings from a number of aspects. Charcoal, crayon, or graphite on a good quality paper will be used for the drawing from the sustained pose.  A recommended materials list will be provided.
 
Supplies: TBA

 

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Six: Painting the Figure in Watercolour

 

 


 

This studio course will briefly cover some useful basic drawing concepts and then apply them to watercolour painting from a nude figure. Working from a life model in watercolour is an exellent way to be introduced to painting in general, as the medium demands that we take great effort to understand the effect of light and shade on form seperate from local colour.  Initially working monochromatically to describe light and shade on form, glazes of the local colour will then be applied to create a convincing representation of the figure. As well as this considered approach to developing a watercolour figure painting, time will be set aside to work alla prima for spontaneous quick studies to explore the possibilities of the watercolour medium. There will be ongoing painting demonstrations alongside you as you work, and brief slideshows to illustrate concepts during model breaks.

Supplies:

-A portable water container. A large ice cream bucket with a handle works well. You can also buy smaller chambered containers which allow you to segregate cleaner water from used water.

-Palette; The large 11”x15 light plastic ones with a lid are particularly useful. This has a generous mixing area which is essential.

-Brushes; Two round synthetic sable watercolour brushes #18. A 2” flat synthetic sable brush is useful; a house painting brush will suffice and be cheaper. (Please notice how large these brushes are! The bigger your brushes are the better as they are more versatile. A large round synthetic sable brush will still come to a fine point for detailing, and is capable of spreading larger quantities of paint around in washes. You need two because you will often need another brush loaded with other colour or just clean water for softening edges)

-'B' Graphite pencil

-Kneaded eraser

Watercolour paints:

-Cerulean Blue, Ultramarine blue, Cadmium yellow medium, Alizarin crimson, Yellow ochre, Burnt sienna

Winsor and Newton, DaVinci, Holbein, Daniel Smith and Stevenson all make excellent paints.

Paper

-Five sheets of medium Arches (cold press) watercolour paper.

 

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Drawing and Rendering for Metal Jewelry Designers.

 

(This course is part of the Metal Jewelry Design Program at the Campbell River Campus of North Island College and is for students enrolled in that program only.)

 


The 14 week drawing program is divided roughly into 3 sections.

The first section is the study of basic drawing concepts using boxes, cylinders, objects, the skeleton and the life model.  A distinction will be made between observational drawing and design drawing and we will practice drawing objects in perspective and in the round from side/top/front/rear sketches.  Working mainly with line and utilizing it's transparency, we will learn how to employ correct perspective and describe foreshortening and ellipses. This section will end with a look at describing light and shade on form with traditional shading and hatching.

In the second section we will move into drawing objects, especially products, and look at the role of drawing in product design.  A sculpture or a piece of jewelry is a product, and drawing products will be extremely informative as we deconstruct/reverse engineer objects to reveal the components and parts that inspired the whole. We will experiment with use of paint washes, markers and start the process of learning to discriminate between the effect of local colour and the effect of light and shade.  As well we will begin to describe unusual surfaces; sheen, reflection, transparency and translucency.

In our third and final section we will use what we have learned about drawing in general for the design of  metal jewelry objects.  By the end of the course the drawing concepts we have looked at will be applied to a work flow process that starts with raw sketches and moves toward  the production of a convincing two dimensional metal jewelry design rendering.

Supplies:

The following items will be required for the first class:

-Drawing board to accommodate 18”x24” newsprint pad.  (You can purchase purpose made boards with clips, but you can also save money by taping a couple or three of sheets of stiff cardboard together or find a small sheet of plywood around the house). (Free-$15.00)

-11”x14” 50-65LB weight medium tooth sketch pad 50-100 sheets.  (Example: ‘Canson Universal Sketch’). Approx. $15.00

-18”x24” newsprint pad.  Approx. $5.00

-2 sticks of 2B (soft) black conte crayon. Approx. $5.00

-Quality graphite pencils; one of each: HB, 2B, 4B. Aprox. $6.00

-Kneaded eraser.  Approx. $3.00.

The following items can be purchased later in the semester.

-Winsor and Newton designer gouache ‘primary set’ (6 tubes).  This item can be ordered from Currys.ca for $51.00.  Up to four students could use one set and split the cost.

-Winsor and Newton ‘synthetic sable’ Cotman Series 111 round ‘size 8’ (8mm) brush or similar. Approx. $10.00

-1 sheet medium Arches bright white watercolour paper (or similar) ($5-10.00 approx.)

-Alvin math set or similar; (10 piece set includes metal pencil compass, alphabet stencil, 45° triangle, 30°/60° triangle, vinyl eraser, metal divider, pencil, 6"/15cm ruler, 180° protractor, and sharpener).  These items are often found in stationary stores under school supplies.  Approx. $6-10.00.

 

 

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Composing with Light and Shade in Watercolour
 
 
 
 
 
This intermediate class focuses on creating a sense of light and shadow in watercolour painting.  We will look carefully at how light and shadow describe form and how this attribute is quite seperate from the effect of local colour.  We'll look at how light itself has colour.  We'll practice and apply concepts to still life, landscape and also some figures.  Concepts will be explained by demonstration and the use of visuals in brief slideshows.

 

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Beauty and Terror: Drawing and Painting on the Edge

 

 

Fasten your seatbelts, no smoking, be prepared for turbulence...and views to die for. The landscape of the Comox Valley and Vancouver Island is one of extraordinary beauty. It can also be dangerous.  Ships get lost in the waters off our coast, aircraft fall from the skies, and people disappear in the forests, canyons, and mountains.  It is a dramatic landscape of the sort that nineteenth century landscapists were thrilled to paint, and will be the subject of the painting in this workshop. We will attempt to paint landscapes that suggest the beauty, drama and overwhelming sense of disorientation that you feel in the presence of a Sublime Landscape. Humans have a reputation for being unable to suppress curiosity and have often taken enormous risks to gaze upon forbidden and potentially lethal vistas...violent storms at sea, the rear-view mirror vista of Sodom and Gomorrah, mountain summits in zones of death, the edge of space, other worlds, and lethally radioactive cores of damaged reactors. Observers who survive are changed and are reputed to have earned insight, perspective, and wisdom. This course can be offered in studio or en plein air (with an acceptable survival rate), preferably in a location that inspires beauty, terror and awe, such as near a cliff or waterfall. All 2D media are welcome.  Some time will be spent viewing and discussing slides of contemporary and historic paintings, photographs, film and television clips and stills, and other visual material, and ideas associated with them. Painting technique will be considered in the context of it's use.