Representational Figurative Painting

Robert Lemler’s students report that they see immediate improvement in their art under his instruction. Next year, in June 2014, Robert will be teaching a workshop at Whidbey Island Fine Art Studio on “Painting the Figurative Subject.” His course will focus on exploring the art of painting portraits, nude, and costumed subjects. 

Recently we caught up with Robert and asked him to share with us a little about his art.

Q: When did your interest in art begin and how long have you been an artist? 

A: My interest in drawing began at an early age. While in elementary school, I was encouraged to develop my interest in art and began occasional art classes. As a high school student, I won a scholastic competition sponsored by the Phoenix Illustrators Group which awarded the winners scholarships toward their educations. I then attended Northern Arizona University, majoring in painting and drawing. I never considered another educational path. I have worked as an artist and teacher my entire adult life. 

Q: What do you seek to communicate through your art? 

A: As an artist, I seek to interpret the visual characteristics of the motifs I chose to paint in a naturalistic manner. I hope to find a resonance of veracity that may be felt by those viewing my works. 

Q: What drives you as an artist? 

A: I am constantly driven as an artist by the desire to improve my skills while exploring the various motifs in which I am interested. I consider myself as primarily a figurative painter who also enjoys still life and landscape subjects. 

Q: What is a recent piece of art you created and what inspired you to paint it? 

A: Within the figurative subject, there are many possible interests to explore. In a recent painting of a seated nude subject I found interest in the dark tonality of a narrow depth of field. I was also interested in the further exploration of mylar as a painting ground. 

Q: Do you have a favorite brand of paints, brushes, or canvas that you use? 

A: I generally use good bristle brushes, Classens canvases, and Rembrandt or Utrecht oil paints. 

 Q: What advice do you have for artists seeking to improve their work? 

A: I always encourage aspiring painters to explore various tools and materials and to build their skills painting from life as much as possible. 

Q: What do you think is unique about Whidbey Island Fine Art Studio’s workshops? 

A: I have not previously been to the Whidbey Island Art Studio but desired to teach there based on the quality of the program and the talented artists they work with. 

Imparting Knowledge

Deuteronomy Rabbah once said, “In vain have you acquired knowledge if you have not imparted it to others.”

Fortunately for Whidbey Island Fine Art Studio, we have many artists who are willing to impart their knowledge of excellent technique and style to artists who are willing to learn. One such artist, Henry Yan, teaches art full-time. His students report that Yan has a huge wealth of knowledge that he is willing to share.

Whidbey Island Fine Art Studio is excited to have Henry return to teach a class on Drawing and Painting theCostumed Figure in January 2014. The workshop will focus on drawing techniques with charcoal (or red chalk) on newsprint, drawing paper and toned paper. Painting will be done the last two days of class for those who are interested.

Henry has much knowledge to share about paintings. A few of his tips include:

• Be especially careful when using light yellow and white so you keep it clean.
• Don't show brushwork everywhere because you need some areas more finished
• Always have a portion of your painting that is mysterious.
• Subtlety is power: make clear, lose, but with some areas really loud.
• The juncture between two shapes looks more natural if you paint the first shape larger than necessary, and then overlap slightly with the second shape.
• Distinguishing between cast (hard edge) and core (soft edge) shadows will enable a 3-diminsional look right away; often need to sharpen cast shadows.
• Be careful about the light source on your canvas and palette. If it’s too yellow you will paint a yellow painting. 

 

Henry also has some advice for new painters:

• Follow the rules when you’re learning.
• Copy master paintings.
• Pastels are very helpful for getting used to oil painting with color.
• Students tend to make everything clear—need to move beyond that stage.

Artist Henry Yan describes himself this way: “I teach drawing, I teach painting and I teach anything that my students like to share with me. Many years I have taught, and still I am teaching. My shoulder hurts, my throat's sore—because I paint and I teach.”

Other than teaching techniques, Henry will encourage students to find their own way of seeking beautifully designed compositions from each pose and interpret what they found with a personal artistic approach rather than simply copying what they see.

 

If you are not able to attend our workshop with Henry next year, but want to learn more from his wealth of knowledge, Henry has written a book to help you. His book, Henry Yan’s Figure Drawing: Techniques andTips, can be found on highest recommendation lists by many popular art book sellers and used as text book by instructors and students of art schools. 

Nourishment for Your Soul

With so many art workshops across the country and even internationally, choosing the right instructor and setting for an art class can be overwhelming. 

Why come to Whidbey Island for your next art class? What sets Whidbey Island Fine Art Studio (WIFAS) apart from other art studies offering art workshops? 

Our motto “Feeding the Artistic Soul” sums up what we do. A workshop at Whidbey Island Fine Art Studio will feed your artist's soul in three unique ways. 

1. Our picturesque, pastoral setting. 

Whidbey Island, located across the Puget Sound just 30 miles from Seattle, is a wonderful place for relaxation and tranquility. WIFAS’s location in Langley, a quaint historical village, offers views of the water. In addition, the island’s farms, forests, bluffs, and beaches provide the foregrounds to many aquatic vistas. The quiet and romantic surroundings that are so much a part of the Whidbey Island experience help to restore and feed every artist’s soul. Coming to a workshop at WIFAS is like taking a relaxing vacation with picturesque gardens and farms, and water, island, and mountain views in every direction. 

  

2. Personalized approach. 

Each workshop offered at WIFAS includes personalized instruction for the artists in attendance. There is always plenty of room for everyone to have their own easel with elbow room to allow creative juices to flow. We place an emphasis on utilizing seasoned artists who provide good instruction delivered in such a manner that it sticks with our attendees long after they go home, continuing to strengthen and nourish each soul. In addition, WIFAS ensures that our students’ needs are attended to, from delicious snacks to personal questions answered.

 

3. Class dinner. 

Every workshop presented by Whidbey Island Fine Art Studio includes a dinner hosted by Cary Jurriaans in her home for the instructor and all the students in the class. For many students, this dinner is a highlight of their time at WIFAS as they get to interact with their instructor and the other students in an informal, relaxed atmosphere. We guarantee the food will be delicious, ensuring that it feeds your soul as well as your stomach. 

 

You can find a list of our upcoming workshops on our website at http://whidbeyislandfas.com/workshops.html. Sign up for one or more of our upcoming workshops and get the nourishment your artistic soul.

An Artist's Perspective

We recently asked a couple artists who have taken workshops at Whidbey Island Fine Art Studio (WIFAS) to answer a few questions for us about our classes. Pam Leiper jumped at the chance to tell us how she has benefitted from her WIFAS art instruction experiences. You can read what she has to share about our classes and her resulting growth as an artist in the interview below. 

Q: Which workshop at WIFAS have you recently attended? 

A: I have taken two workshops at Whidbey, a figure drawing workshop with Henry Yan in 2012, and an oil painting workshop with Dreama Perry in 2013. 

Q: What did you find most helpful about the art instruction you received at the workshop? 

A: My first passion is figures, so my workshop with Henry Yan was inspirational. It was five days of heaven. I tend to labor over my figures, and Henry can capture the pose even with the quickest sketches. He has exceptional control using his razor sharp charcoal pencils, and he demonstrated beautiful techniques to soften shadow shapes. I would take his class again and again until I achieve the same skill in my own life drawings. 

Q: Did you learn any new techniques or were you reminded of old ones in a new way in the workshop? 

A: I do enjoy painting in oils, however I tend to make 'mud' with color. Dreama's palette is always fresh and she has lovely brush work, so I thought her workshop would help me with my own oils. She provided a very fun three day experience, as fun, nourishing and colorful as she is. She demonstrated her technique of laying down transparent color first, then covering with colorful opaques and controlled but bold brushwork. This has been useful for me, and I've been practicing this technique since the workshop.

Q: What did you appreciate most about the setup or structure of the workshop? 

A: Cary Jurriaans always does a great job organizing the WIFAS studio space. There was ample room to paint, easel space is allotted democratically, and she always has lovely refreshments on hand. 

Q: Were you inspired to paint a particular image during or after the workshop? 

 A: Since Henry's workshop, I continue to work on figures. I haven't mastered his technique… but will keep trying. Since Dreama's, I have tried a few oils. 

Q: Could you share a highlight from your experience at WIFAS— either from the workshop or your time on Whidbey Island? 

A: The WIFAS studio is located in the very picturesque village of Langley on Whidbey Island. It is such a tranquil and gorgeous setting— how can an artist not be inspired? My husband and wee dog accompanied me this last time. We splurged and stayed at the dog-friendly Langley Inn. I would return to WIFAS again and again just to visit the Island. 

Q: Are you planning on attending any other workshops with WIFAS in the near future? 

A: I will definitely return. I'll just keep an eye on the upcoming calendar! 

Points, Masses, & Lines

Artist Zhaoming Wu grew up in China during the Cultural Revolution. At the age of 8 the government closed the schools and he had to leave. He spent his days copying comic books and studying Chinese brush painting from a book. When he was 12, his mother, a doctor, recognizing his talent asked a patient, a professor at Guangzhou Academy of Fine Arts, to train her son. Today, Zhaoming’s paintings are exhibited around the world. 

Whidbey Island FineArt Studio has the privilege of hosting a “Luminous Figure” workshop by Zhaoming. By helping his students focus on the basics and not get lost in the details and particulars, Zhaoming helps others create spectacular figure paintings.

Wu's design principles derive from traditional Chinese painting. He begins composing a new image by determining what he calls points, masses, and lines. While a painting can be built on two or even just one of these three elements, Zhaoming prefers to build his compositions on a mixture of all three. “I use points, masses, and lines the way a composer uses notes to write a song,” he explains.

In his work and teaching, Zhaoming also gives a lot of consideration to the transition between light and shadow. He teaches the following about painting with his techniques:
 

“At the beginning I keep the treatment of shadows flat, with almost no form, but I keep lots of color. After working on the shadows I begin working on the light side. 

“I start with a 2D approach, thinking first of shape, then of value, and then color. First comes 2D—shapes and angles; then 3D—form, volume, and structure.” 

“I use thicker paint on the light side to give texture. Some touches of the brush are very delicate, and some are more scumbling. At the final stages, edge control is very important. There should be a lost and found quality to the edges in order to show atmosphere and depth.”

We hope that you will join us this August 2013 for Zhaoming’s figure workshop.

 

Painting with a North Light

Qiang Huang, a prolific painter and art instructor, will be teaching a Still Life workshop at Whidbey Island FineArt Studio in May 2013. Qiang’s paintings show remarkable accuracy under lush brush strokes. This is partly due to his focus on light distribution as well as his manipulation of values, colors, and edges.

Many years ago, Qiang watched a video with David Leffel painting Still Life. David talked about the importance of using a natural north light when painting. Wanting to have as natural north light as possible to paint by, Qiang set out to find an artificial light that would replicate natural north light.

Qiang began to experiment with lights. He discarded using a fluorescent light because it does not have a continuous spectrum light like the sun, so it does not give the color accuracy of the pigment. Instead, Qiang focused on tungsten and halogen lights. He discovered that the best solution was to use Philips’ Natural Light Plus (Par 16 Flood), 60W and add color correcting light filters.

These blue tinted transparencies are easy to use. You simply clip the filter on the reflector of your lamp. Once you do this, you have created your own north light. You can read more about creating your own north light and ordering color correcting light filters on Qiang Huang’s website.

Qiang shared with us a little more about his painting.

What is your standard palette of colors?

My Palette: Naples Yellow, Yellow Ochre, Cadmium Yellow Light, Cadmium Orange, Cadmium Red Light, Alizarin Crimson, Transparent Oxide Red (or Burnt Sienna), Ultramarine Deep, Phthalo Blue, and Titanium White. I like Rembrandt oil colors, but other brands are fine too. I use Winton as well.

What type of canvas do you use?

I like to use primed and stretched canvas. I also use canvas panels from RayMar, or loose canvas. I do not use paper backed canvas panels. They are too absorptive.

What kind of medium do you use?

Most of the time, I don't use any medium. I use paint directly out of the tube. I occasionally use Liquin if I want the painting dry faster. I use mineral spirit to wash my brushes.

Do you use retouch varnish when your paintings are dry to the touch?

Yes, I do. I use Demar retouch varnish spray a week after the painting is done. If I have the painting more than three months, I coat the painting with a permanent varnish with a soft brush.

You can view more of Qiang’s paintings on his dailypainting blog.

Discipline and Hard Work

Discipline and hard work. These are two essential ingredients to being self-supporting artist. Just ask Anne Belov. 

Anne tries to be in her studio by 9 AM every morning to paint. In her 35 years as an artist, Anne has painted landscapes, still life, and interior imagery. Her bold and direct brushwork results in captivating imagery that expresses the bond she feels with her subject. Anne says, “My paintings are about my life…where I live, work in the garden, sit in a comfortable chair to read. I refuse to be limited to one subject matter or even one medium. I have worked in watercolor, oils, printmaking (etching, lithography, and monoprint), egg tempera, and drawing.”

Hard work and discipline has kept Anne busy even with the recent slow-down in our economy. With slower sales, Anne decided to use her free time to push the boundaries of her creativity into new directions. Using Kickstarter, Anne ran a successful campaign to raise almost $7,000 in funds to self-publish a wordless children’s picture book, Pandamorphosis. The book was fueled by her obsession with pandas and her panda cartoons which she has been drawing for the past five years. She started a blog, Your Brain on Pandas, in 2009 to showcase these panda cartoons because she says, “My friends got tired of me chasing them down the street with a stack of cartoons clenched in my fist yelling, ‘Tell me they're funny!  Please!  Hey! Wait, you didn't read the one about the panda kindergarten yet!’”

Anne will be teaching a class on Egg Tempera for Whidbey Island Fine Art Studio in April 2013. Anne primarily works in oil on linen glued to hardboard. She uses traditional recipes for egg-oil emulsion rabbit skin glue gesso to create a more absorbent ground than acrylic or oil based gessoes. Subsequent layers of paint create the depth and luminosity that characterize her evocative paintings.

You can follow Anne on her art blog at http://nothingoverlooked.wordpress.com.