demonstrations and artist examples: drawing and painting

I teach drawing and acrylic painting workshops at Artascope at the Bickford Education Center in Yarmouth. These run for six weeks and participants fluidly join in and or continue to work; I make sure there is one-on-one support as well as active group learning each week.

Below are drawings and paintings I made during demonstrations. Drawing made in an unconditional aesthetic and practical setting to show others and articulate can have character and value. There are examples of works by the artists participating in the sessions after the demonstration segment.







IMG_1462.jpgI also archive below some works the artists produce. Each artist brings personal interests and skill levels. The instruction I offer supports artists who seek new ways to challenge themselves, experiment with fundamentals, technique, and content. They find a nurturing and enthusiastic community where they build new strategies and confidence, and make a lot of work in six weeks!

Drawings by artist participants Current to 2018: See more on



Here are some examples from private instruction:


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Here are some examples of participants’ drawings from a three-part series of life drawing: the head, torso, hands and feet:



Some painting demos from this past year 2019: typically I block in the main forms and fill in with color to show the artists an approach to color and composition.

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Paintings by artist participants: Current to 2019 starting with the first sessions to most recent.

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A look at how artist can grasp observation and drawing skills quickly, as well as my teaching mission: all drawings were done by artists attending my Artascope sessions 2018 and 2019:

My passion is teaching others how to draw and sharing the gifts my professors and instructors gave me, which keep on giving. I can hear their voices and the directions they would give such as ” fingers are not sausages, the have four sides”. Drawing the figure as a series of boxes and rectangles helped me draw the figure seated with knees forward so I could tackle foreshortening in its extremes.

I reduce forms to shadow shapes  and measure the angle of an object’s direction with a straight edge, locating the object in space and on the page. Gradation and shading eliminate the temptation to rely on outline, a habit which comes from cartoon drawing that permeates our culture. Outline is something to be used with line quality in mind, not as a way to simply describe a shape. Outline can become a beautiful trail of marks in and of itself, and in concert with shadow or gradation, becomes a lively component in a dynamic space.

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These drawings here are by adults who may have had a little bit of instruction before doing these nor none at all. These drawings are done from observation and evidence how if we spend time looking and seeing, we can develop skills, technique, and our ability to express ourselves through drawing with sensitivity, energy, and soul!

Draw from shoes and see how you can develop techniques by working only with outline, or exclusively with tonal value and gradation, or composing shoes in a pattern:


Draw from a plaster model, plastic skull, or a drawing of an body part to study anatomy through contour, planes and tonal shifts, dark and light.


Draw organic and natural forms with use of greyscale, shading/ gradation: a gourd from the pantry, a small log from the woodpile.  Use charcoal and kneaded eraser to draw and blend, stumble, &develop tensions between light and dark, rough and smooth.


Draw a crinkled paper bag, jacket draped over a chair, or other object showing dark shadows that define shifts in planes, angles, and mostly geometric or angular forms


Drawing simple everyday objects life-size: contrast, texture, shading.


Work with toys or fun personal objects to create an interesting composition

with an unexpected narrative.


Play with positive negative spaces to create a more graphic drawing or image.


Draw a simple object with a brush, blocking out areas of color, layer shadow shapes once it dries; you can integrate pencil, water soluble graphite stick, charcoal or other medium to start or after.


Use the drawings of artists to inspire your own work. Here a copy of Diebenkorn chair and flowers, a landscape by Van Gogh, and two Van Gogh figures combined.


Draw from other drawings you find in books or online, print them out and copy to learn how another artist uses marks, texture, contrast, proportion, composition. This kind of study and observation of another artist’s techniques is a valuable way to enlarge a drawing practice.







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