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Jeff Suntala in 2022
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Participants will select two workshops, one in the morning and one in the afternoon: Each workshop is limited to 13 participants.
Morning Workshops:
Intentional Composition & Page Layout in Urban Sketching (and setting your sketches up for print-ready use!) - with Robin Carnes
Learn how to intentionally start a sketch with an eye for composition and making use of the space on your page. We’ll pinpoint the area of the subject you want to draw and use the surrounding spacial elements to emphasize your focal point. From there we will explore the use of additional design elements to frame your sketch on the page such as borders, flourishes, botanical elements, line breaks and typography.
So you’re happy with your finished sketch and want to turn it into something more… what’s the next step?
We’ll also explore using standard size references to sketch within so you are able to use your artwork for making greeting cards as gifts for friends and family, prints to frame and hang, and being able to use all those fun websites to turn your artwork into a mug, t-shirt or tote bag, etc.
I’ll talk about the process from sketchbook to final product, which includes tips for scanning, editing, and using your digital files to upload to common product/print on demand websites whether it’s just for fun or something more!
Sketch NOW, think later (urban Sketching with limited time, tools and techniques) - with Mike Daikubara
This is a crash course in Urban Sketching for anyone that has limited time and wants to bring more sketching into their already busy daily lives.
Looking for the perfect subject, angle, composition, materials and tools to use can take lots of time and bog you down even before you start sketching. The workshop approach is to bring these down to the essentials of a few tools, few techniques and few approaches so you can enjoy what you like to do in the first place: To jump right into sketching anytime, anywhere, and in any situation!
Learning goals:
Sketching within a limited amount of time allows you to create better-looking work since it allows you to concentrate harder.
Sketching with a limited amount of tool set allows you to approach sketching situations faster.
Sketching with a limited amount of techniques allows you to capture the moment faster.
Artists have Perspective: tools to convey space - with Kay Bea Jones
This workshop will focus on principles of one- and two-point perspective to help us see and convey space in two dimensions, including architectural and landscape space, interiors, urban plazas, and forms occupying the landscape.
9B Sketching Small, Fast & Smart - with David Rankin
This session is focused on an in-depth approach using a 9B Woodless Graphite Pencil to create what David refers to as a Light Study©. More than just a line sketch, David’s procedure allows the artist to actually capture a visual sense of sunlight & shade using graphite. Working with David in timed sessions, artists will practice creating small studies. The objective is to learn to sketch quick and smart, focusing on only the major shapes, and learning a procedure that will help you gain greater visual confidence in your own artistic ability to try out ideas, your designs, and how to direct the viewer’s eye.
Supplies: Sketchbook, 9B woodless graphite pencil and stump (an inexpensive blending tool for the graphite).
Basic Watercolor - with Jeff Stahler
Students will learn to work in watercolor, look for basic shapes, light, and shadows, as well as learn to make a composition interesting.
Perspective, Cars and People - with Jeff Suntala
How to break down a scene using the fundamentals of perspective and make sure your drawings of buildings, cars and people make sense. In other words, how do you sketch loosely while not necessarily accurately but still look like you know what you’re doing?
Quick Captures - with Christina Wald
What do you do when you have only 20, 10, or even 5 minutes or less to do a sketch? Christina Wald will take you through some sketching tips and exercises to make the most of the valuable time you have to sketch.
Afternoon Workshops:
Intentional Composition & Page Layout in Urban Sketching (and setting your sketches up for print-ready use!) - with Robin Carnes
Learn how to intentionally start a sketch with an eye for composition and making use of the space on your page. We’ll pinpoint the area of the subject you want to draw and use the surrounding spacial elements to emphasize your focal point. From there we will explore the use of additional design elements to frame your sketch on the page such as borders, flourishes, botanical elements, line breaks and typography.
So you’re happy with your finished sketch and want to turn it into something more… what’s the next step?
We’ll also explore using standard size references to sketch within so you are able to use your artwork for making greeting cards as gifts for friends and family, prints to frame and hang, and being able to use all those fun websites to turn your artwork into a mug, t-shirt or tote bag, etc.
I’ll talk about the process from sketchbook to final product, which includes tips for scanning, editing, and using your digital files to upload to common product/print on demand websites whether it’s just for fun or something more!
COLOR First INK Later (a dynamic approach to drawing and painting on location) - with Mike Daikaburu
Sketching a complex scene can be intimidating at first requiring lots of planning, lots of underlying line work, lots of time and the thought of it might even make you just give up before even starting. But there’s an approach to make this go all easier using the ‘COLOR First INK Later’ approach.
Contrary to the approach of line work followed by adding color, broad watercolor washes of loose color are applied first to get started using a mop brush then line is added later. Since details are hard to control with a broad mop brush, this ultimately makes it easier and less intimidating to get started since you’ll give up trying to control it. You’ll also quickly find out that it’s really hard to make a mistake at this stage since the colors will perform their magic by mixing on their own on the paper and thus you’re actually controlling the colors as a result. Once the initial layer of the color wash has dried, the details and the focus of the sketch are brought to life with ink, additional colors and highlights to finish the sketch. This is all done using limited tools in a limited amount of time. The results? The Sketches are more vibrant, dynamic, and overall just fun!
Learning goals:
1. Jump into a sketch with broad watercolor washes without hesitation
2. Let go in trying to control detail colors in direct water color, and thus learning to control it as a result
3. Bring focus to the sketch story in tightening up the sketch through line work, additional colors and highlights.
Everything Everywhere All at Once - with Kay Bea Jones
The new book by Joan Baez called Am I pretty When I Fly? an album of upside down drawings,
reveals her lifelong practice as a form of stress release that includes writing backwards, drawing upside down, and with her left hand. This workshop will follow the path of Frederick Franck’s The Zen of Seeing—Seeing/Drawing as Meditation to find simple pleasure and beauty in things around us with little effort.
Creating Small Watercolor Studies with only Payne’s Grey - with David Rankin
This session is also about creating Light Studies©, but with Payne’s Grey. This procedure begins with a quick sketch with a 2B pencil. David will demonstrate and then artists will practice the Observation & Evaluation recipe for establishing value relationships and painting procedures. Doing a quick Payne’s Grey study is another way to quickly evaluate your ideas, design, and focus. It is useful to artists in all media.
Supplies: Sketchbook, a 2B pencil, and a small watercolor set consisting of one color, Payne’s Grey, a few watercolor brushes, one small palette and 2 containers for water.
Basic Watercolor - with Jeff Stahler
Students will learn to work in watercolor, look for basic shapes, light, and shadows, as well as learn to make a composition interesting.
Perspective, Cars and People - with Jeff Suntala
How to break down a scene using the fundamentals of perspective and make sure your drawings of buildings, cars and people make sense. In other words, how do you sketch loosely while not necessarily accurately but still look like you know what you’re doing?
Quick Captures - with Christina Wald
What do you do when you have only 20, 10, or even 5 minutes or less to do a sketch? Christina Wald will take you through some sketching tips and exercises to make the most of the valuable time you have to sketch.
Various parking options available in the area including on-street and garage.
