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.

 

Man versus Nature

Most painters receive inspiration from their surroundings. Living in the country has inspired and influenced David Gluck’s paintings. Most of David’s subjects for his Still Life paintings are objects collected locally. The same holds true for his figurative work. David tends to paint the people he knows and is familiar with. 

David says that since moving to the country he has come into contact with many salt of the earth type people, people who know how to live off the land in a way that their grandparents and great grandparents did before them. They remind him of a lost generation of survivors, the pioneers of the past. The theme of man pitted against nature is one that continues to inspire David.

For example, last year, David was an Exceptional Merit Winner at the 2012 International Portrait Competition for this painting The Trapper. This painting depicts a man whom David befriended. When David knew him, the man did not have a job or home of his own, but he kept himself extremely busy collecting scrap metal (basically, a modern-day forager). In this painting, David depicts this man as an early settler-trapper, a grizzled breed of men that lived with few material comforts and braved harsh winters to seek a living from the woods.

Read what David has to say about his painting process:

Q: What techniques do you use?

A: I paint in a very traditional manner. My approach isn’t varied or complicated, but I do put an emphasis on textural qualities. I think one thing that always has and always should distinguish a painting from a photograph is the tactile quality of paint.

Q: Describe your process.

A: I would say at least half of a piece is in the planning. I always do a series of studies starting with thumbnails and preliminary drawings for tone and composition. I end with colors studies before beginning on the final canvas. I try to leave very little to chance.

Q: What is your major consideration when composing a painting?

A: Broad tonal relations are my primary consideration. I am a tonalist as opposed to a colorist, which means light and dark relationships are the crux of my work. I spend a lot of time working out a perfect shadow pattern, especially in my model’s face. It is important to have the features illuminated in just the right way to suggest a certain mood and psychology.

David Gluck will be teaching a Classical Still Life painting workshop at WIFAS this summer, June 3 to 7, 2013. You can learn more about his workshop on our website.

A Passion for Birds

Kim L. Middleton will be teaching a Painting Birds of Prey workshop at Whidbey Island Fine Art Studio (WIFAS) in October. Kim’s passion for birds is strong. In addition to creating avian art, she trains birds for public education and rehabilitates orphaned, sick, and injured birds for release to the wild.

Read our recent interview with Kim to get a feel for who she is as an artist.

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

A: My first job at age fifteen was interpreting the art collection at a Russian Orthodox Cathedral in my home town of Sitka, Alaska. Being around such before art sparked an interest in art and although I pursued the sciences in college I took a year of art history and continued to work at the church. I studied art on my own and  I worked my way through Betty Edwards’ Drawing on the Right Side of the Brain, while I was in a remote village in Africa for the US Peace Corps. When I returned to the states in the early 90’s, I focused on learning to paint in watercolor. Six years ago I took classes from a retired Cornish professor and started working in oils.

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

 A: I am an avian artist and paint only birds. I have worked in avian conservation and research most of my life as a biologist. I prefer to paint bird portraits or at least have the bird dominate my paintings. I wish to reveal the extraordinary world of birds in my art in the hope to increase awareness and appreciation for birds and to increase our desire to conserve birds and their habitats.

 

Q: What drives you as an artist?

A: My passion for birds is strong and life-long. Most of my life I have worked with birds and my enthusiasm continues to grow. I wish to share my knowledge and love of birds and enjoy talking to people about the birds in my art.

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

A: Often I have heard people comment that vultures are ugly. I personally like vultures and wanted to paint an attractive vulture. I cropped the Turkey Vulture in close and chose a pose that highlighted its plumage instead of its bald head. I took liberties with the colors reflecting off the feathers and added a warm background to make the piece appealing to the viewer.  Here’s Looking at You is a beautiful representation of a vulture.

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

A: I mainly use transparent oil paint and find that Winsor Newton produces a wide range of clear, strongly pigmented transparent paints.  With my limited palette of Ultramarine blue, Alizarin crimson and Indian yellow, I am able to mix most of the standard palette hues, raw umber, burnt sienna and sap green. Painting on stretched canvas or linen allows my thin glazed layers to dry quicker than board and I prefer the subtle texture of the cloth. I like the soft, delicate look when I apply a glaze with sable and a filbert brush works well in defining feathers.

 

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

A: Learning as much about their subject as possible helps an artist to recognize when they are doing things right or wrong. Being familiar with the subject also allows the artist to interpret their subject on more creative levels. For instance, when painting a scene of two Peregrine Falcons at the nest, the larger bird is the female and she feeds the young chicks.  As mammals, we may assume that the male bird is larger, but this is not true with most birds of prey. This example is subtle, but for those who know this raptors characteristic they may be taken aback if the artist stereotypes the female by making her smaller.

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

A: Having a location away from the distractions of the city and home allows the artist to relax and concentrate on the information and activities of the workshop. WIFAS’s diversity of artists and their styles and subjects gives the student a good variety of classes. As a workshop instructor I appreciate the attention to details that WIFAS offers.

Cary the Great!

If you have not yet taken a workshop at WhidbeyIsland Fine Art Studio (WIFAS) in Langley, Washington run by Cary Jurriaans, we want you to know what you are missing. As an artist, as well as the owner of WIFAS, Cary Jurriaans knows what artists need when attending an art workshop. 

The following was written by an art instructor about WIFAS, specifically for artists considering attending a WIFAS workshop.

 

It takes one to know one!

Cary Jurriaans, artist and owner of WIFAS has attended many a workshop in her lifetime. In other words, she has been where you will be when you attend one of her workshops, a student on the learning end of things— and to that end, she thinks like you do!

Cary already knows what you are asking yourself about the workshop:

1.   Will there be a good spot for me to view the model when I paint?

Yes, Cary always has 2 models for each session for 8 students or more, guaranteeing you a good spot.

2.   Will I have plenty of room for all my stuff when I set up?

Again, yes.  WFAS has about 3,000 square feet (give or take a few) for you and fellow artists to spread out in, this is for large workshops.

3. What about still life workshops—I have been stuck in some really bad spots before trying to paint the subject—will there be enough setups to work from without having to stand on my head?

Yes and yes again! Cary has still life setups for each student. You heard right—one student per still life set up.  Virtually unheard of!

4.   How could it get any better? 

Did we mention food?  Coffee, water, light snacks, set up and waiting on you each morning! In addition, organized “out to eat” dinners for the 4 day workshops. Yes, WIFAS workshops just do it better! 

5.   What about the 5 day workshops?

Cary goes all out. She has you to her home for a mixer with great food for all the artists to hang out, talk shop and get to know each other better.

6.   Still got questions?

Just take a look at what others who have attended a workshop at WIFAS and see what they have to say!

If you are looking for an art workshop to attend, we invite you to head on over to our website and check out all the great upcoming classes WIFAS is offering for the remainder of 2012.