I currently teach in person locally, once every 3 months, 4 sessions set over 2 hours each - giving insight into confidence barriers / experimentation / study of my process pieces / composition thoughts / enjoying themselves with the medium rather than wary of mistakes.
I firstly teach experiments, then the drawn structure in ink, using the idea of the serpentine line to practice including auto...
I currently teach in person locally, once every 3 months, 4 sessions set over 2 hours each - giving insight into confidence barriers / experimentation / study of my process pieces / composition thoughts / enjoying themselves with the medium rather than wary of mistakes.
I firstly teach experiments, then the drawn structure in ink, using the idea of the serpentine line to practice including automatic drawing without lifting nib from paper and finding the rhythm and control through this.
Most students have mentioned to contact them again, if I teach either again the same set of guidelines, or to have an opportunity to try again from another perspective.
Although I have a BA Hons Design degree and HND Illustration under my belt, my style of work evolved further, stronger many years after graduation - I blend illustration and fine art.
Watercolour and pen & ink lets you combine precision lines and detail with spontaneous fluid paint. Or the opposite.
I get an expanded reality from the medium, forged from many sketchbook ideas - that challenge and open compositions - always thinking on depth.
I like to tell students, this is your perspective, your story - and translates through the medium. Be the best version of yourself, with only the key influences to look at.
I point out that, I always use the prop set design view; foreground objects being large, crisp, thicker lined, then mid ground, with less detail leaving background with slight painterly shapes.
In my lessons you will see all of the equipment I use to create my portfolio strength, using stretched paper, wet on wet/dry, layering, working from light into dark and ways to go backward on that, timing during the piece' creation, archiving and storage.
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