Sculpture in its entirety, from modeling a form in clay to a finished bronze, is the content of these sessions. Each participant selects an image to sculpt. The subject can be drawings or photographs of the same figure or object viewed from several angles (a front view and a profile view is desirable). The subject is sculpted, with guidance to scale, structure, support and overall form, using a clay that burns out like wax (the lost wax process).

Each participant must provide a large coffee can which serves 2 primary purposes: the first is to establish the size limitation of the sculpture; the second is to provide a safe container to transport the sculpture to the foundry.

The foundry, which I have worked with for a number of years, will invest and cast the clay into bronze and patina it at a very reasonable price. Each sculptor/participant is responsible for their foundry cost; their completely finished bronze will be shipped back to them.

A 3-D experience enriches all visual people. All aspects of the figure and/or character will be covered. The objective is to create a finished piece of sculpture. Special emphasis will be placed on the figure's or character's anatomical forms and the flow of these forms in space.

A choice of subject could be based upon the studio/figure model. Another choice, is to develop a sculpture from several drawings (i.e. front and profile view); this could be a character, animal, figure or almost any idea provided there are views form two separate sight lines.

The instruction process will go through all stages of development and construction of each participant's piece. Generally, the process is:

• Start with armature building, which is done with aluminum wire.
• Demonstration of facial and/or character features, show the "how to's" for sculpting hands, eyes, mouth, fabric/drapery, etc.
• Develop details, personalize texture and unique touches.
• Finish the piece, firing/baking, patina and/or painting for completion.

Amazing things happen for visual people experiencing sculpture. A great amount of information can be realized by developing a 3-D form and understanding its physical presence for artists whether traditional or computer oriented.

The primary emphasis is to be placed on sculpting the head and, in particular, the face. Developing the bust, head, neck and shoulder forms is a significant factor in portrait sculpture. Structuring an armature, proportions, relationships and methods of observation will be issues for exploration. Focusing on facial features and the "how to's" of making eyes, nose, mouth and ears are especially significant.

Concepts for attaining likeness, hair textures, facial expression and composition of forms (i.e., tip/slant of shoulders, slight turn of head, etc.) become very meaningful in terms of communication to the viewer and, more importantly, educating each participant/sculptor to see how slight adjustments are key factors in this, or any, visual process.

This is a workshop series of comprehensive guidelines in watercolor techniques and expression. Demonstration and explanation will enable all visual people to develop watercolor (either beginners or advanced, traditional or computer).

Concepts are developed and practiced on smaller size formats (primarily on cold press paper) including gradations of one color followed by gradations of several colors, use of masking, touch up and water erasing techniques to develop light and shadow and to develop glowing light impressions such as sunrise/sunset, warm and cool modulation and lost and found edges.

Experiences in "freeing up" using large, sweeping washes with wet into wet areas and blends of one color into another are primary issues. This work is done on an expanded format (large size, cold press paper).

Atmospheric perspective, its concepts and practices, is thoroughly explained and demonstrated as it relates, not only to watercolor, but literally to all visual presentation in one way or another. Value, focus/clarity, color intensity and scale are elements of study and practice.

Work on figure drawing with watercolor and quick sketch figure structure depicting a range of figure impressions from solo images to crowds is a key factor in this workshop.

Experiments using salt, alcohol and gesso resists, as well as, methods of exploring the flexibility of watercolor ( a medium which is incorrectly thought of as being rigid and unforgiving) will be demonstrated and put to use especially when applied to subjects that are compatible to a particular applied technique (such as pebbles in the bottom of a stream or trees, branches and foliage).

Participants use acrylic and oil painting techniques such as wash, opaque applications, flowing movements and impost to create works which are developed from sketches or from photographs. Often the photos used as a subject source are pictures taken by the individual artist. Methods of increasing scale and drawing out the image begin the painting involvement.

At times specific types of subjects are focused upon, for example, faces, fabric, trees, reflections, bricks, boards, stones and other architectural surfaces are emphasized (and apparently needed) for practice and/or to create backgrounds. Mixed media is also introduced as a possibility (which translates to computer methods with great compatibility). Newpastel, Prisma pencil and conte crayon, for example, integrate very well with the acrylic; the potential for other media applications is readily available.

The paintings are done on cold press illustration board (small size: 11x14) primed with gesso; this surface provides great flexibility and portability at a modest cost in the studio/classroom. Oils can also be used on gessoed boards, however, canvas tends to be of greater experiential value and is easier to handle with increased sizes.

"Paint outs," field trips to specific, pre-selected, sites have been very effective in terms of yielding both experience and results. The tradition of painting at locations such as mountains, harbors, seasides, downtowns, ethnic areas, piers, overlooks, zoos, bridges, etc. have always influenced an inspired participants. Over the years, I have conducted dozens of paint outs which have always been successful from a multiplicity of view points.

Oil painting (also acrylic and pastel) from the costumed model has been a popular workshop for many years. There are infinite possibilities! However, generally the costumed model is set up in an environment that makes both a statement in and of itself and provides a situation where each artist can interpret the situation with individualism and personal intent.

The psychology of color, mood or look of the piece, thrust or balance of composition and media handling (transparent against impasto or free flowing as compared to or as opposed to finite detail) are, a few among many, points for personal investigation.

Situations such as: two models, each dressed in costumes from the movie wardrobe of "Cabaret," and, a leather clad model standing next to a motorcycle are examples of previous sessions that provided interest and personal imagination.

Consideration will be provided as to approach, layout, selectivity, media, emphasis, portraiture, caricature and many more elements to each participant, both generally to get things started, and then individually while making the rounds.

The objective is to take a good existing drawing or painting and design it into an exquisite piece. This is not simply a critique, it is an enhancement to what already exists.

The idea is to incorporate overlays and/or successive layers to strengthen movements in order to tie passages together (even more so than already exists). Methods to bring darks into darks, reduce or intensify color, eradicate portions to provide greater focus or contrast, create areas of opposition within the same image and to simplify forms can be used for the beautification process.

Each artist will work background forms and/or shadows and create "open space" areas by lifting away segments without disturbing the surface appearance. Each participant will, in essence, re-draw or re-paint a piece to create a more effective composition by determining what to draw or paint (or not to draw or paint) by reconstructing the image for its greater good.

This workshop bridges several visual issues simultaneously. The concept of studying and learning about the figure crosses into the use of the figure as a vehicle in an exploratory manner; that is, using color expressively in a dynamic presentation condition.

The process of drawing the figure starts by using black on white (or a dark color on a light background) and exploring the value scale; and then, the process crosses into the use of color to further explore forms in an explosive manner using, for example, intuitive discord, warm and cool colors, colored lines and random movements, as well as, dark and light colored tones.

The standard of observation and examination of local color (i.e., flesh tones, the appearance of clothing colors, linear edges, background colors, application textures and their combinations) will be crossed as participants use colors that are "pushed" into more expressive and dynamic uses.

This workshop presents ways to interject more color than is actually there. It presents the "how to's" of using additional color to express particular special effects and/or moods. It incorporates historical aspects of color projection in visual presentation. It uses an understanding of the simple "color wheel" for personalized color exploration among artists ranging from those developing traditional media to computer generated images.

This workshop bridges several visual issues simultaneously. The concept of studying and learning about the figure crosses into the use of the figure as a vehicle in an exploratory manner; that is, using color expressively in a dynamic presentation condition.

As in all of my workshops, sessions can be tailored, formulated and formatted to meet specific time and availability schedules, however, a 6 week, 2 hour per session (or 12 hours divided by mutual convenience) would be "about right" for participants.

Note: This is a new series of classes that has, recently, been well received.

Extreme and extended views of the figure and objects in exaggerated special conditions are the objectives in this drawing series. Models are posed in positions that will enable participants to illustrate extreme projections and recessions of their forms in space.

Explanation and demonstration of overlapping, scale and distortion, which are used to depict greater depth on the two dimensional surface, will be practiced using familiar and non-familiar studio methods. Still-life, organic and mechanical items also factor into the experience as subjects for experimentation.

Traditional drawing materials are used in non-traditional ways such as "mapping out" different view points and methods of examining forms or drifting into absurdities through drawing. Additionally, using one medium over another and removing parts of each (layers) becomes an effective tool for experimentation.

The overall idea, in some respects, is like considering the concepts of characterization of the face as compared to a more traditional portrait drawing; but, in this case, the entire figure or object becomes the subject for characterization.

The objective in these drawing sessions is to get the point across. Generally, participants are not visual artist types (directors, producers, lighting and effects people, engineers, etc.) but are artists in what they do.

The drawing processes reviewed in the course enables participants to use their knowledge, for research purposes, coupled with these quick drawing techniques to set the scene or to do a diagram or story board effectively enough to communicate their intentions to everyone thoroughly. The techniques used for the quick sketch process are markers, pencils, sharpies, ball-point pens and, sometimes photographs, clippings, charcoal, conte crayon and copy machines. Often tracing overlays are additions to the processes.

How to indicate figures, show items in perspective and shading to create light and shadow are featured topics.

Over the past decade as a drawing teacher and coach to animators and illustrators I have had an opportunity to oversee a variety of artists (many are C.G. people) acquire great successes in traditional drawing.

The move from mouse pad to drawing tablet can be developed in a drawing class environment. Most talented people trained in one visual discipline, like C.G.I., can make a transition into another when given sincere direction and tool handling guidance. However, adjustments from general presentations in life drawing, classroom procedures must occur. Of course, no one can just change instantly; but, with a little diligence, practice and individual attention, successes come.

The successes come by showing students, individually, how flexible drawing can be; and, how this flexibility on a sheet of paper with a drawing implement resembles the flexibility available on the screen before creating or printing a final image.

Coaching C. G. artists successfully in traditional drawing evolved as a result of adjustments from standard drawing class procedures (*i.e., general presentations regarding proportion, gesture, anatomy, etc.) to personalization (utilizing the strengths of each individual), flexibility (trying a variety of techniques and approaches with each individual) and comfort (providing methods for each individual to search out their own understanding of this transition). In short, changes in the structure from a singular drawing approach classroom to a multi-faceted, many classrooms in one, approach to drawing works; in turn, this provides both C.G. and traditional artists with a great environment in which to practice and develop their skills while working in an atmosphere that expands the point of view of each participant.

Note: Standard drawing classroom procedures are individualized not abandoned.

Oil painting (also acrylic and pastel) from the costumed model has been a popular workshop for many years. There are infinite possibilities! However, generally the costumed model is set up in an environment that makes both a statement in and of itself and provides a situation where each artist can interpret the situation with individualism and personal intent.

The psychology of color, mood or look of the piece, thrust or balance of composition and media handling (transparent against impasto or free flowing as compared to or as opposed to finite detail) are, a few among many, points for personal investigation.

Situations such as: two models, each dressed in costumes from the movie wardrobe of "Cabaret," and, a leather clad model standing next to a motorcycle are examples of previous sessions that provided interest and personal imagination.

Consideration will be provided as to approach, layout, selectivity, media, emphasis, portraiture, caricature and many more elements to each participant, both generally to get things started, and then individually while making the rounds.

The objective is to take a good existing drawing or painting and design it into an exquisite piece. This is not simply a critique, it is an enhancement to what already exists.

The idea is to incorporate overlays and/or successive layers to strengthen movements in order to tie passages together (even more so than already exists). Methods to bring darks into darks, reduce or intensify color, eradicate portions to provide greater focus or contrast, create areas of opposition within the same image and to simplify forms can be used for the beautification process.

Each artist will work background forms and/or shadows and create "open space" areas by lifting away segments without disturbing the surface appearance. Each participant will, in essence, re-draw or re-paint a piece to create a more effective composition by determining what to draw or paint (or not to draw or paint) by reconstructing the image for its greater good.

Seeking ideas to develop visual images is the purpose of this course of study. The camera is the tool; it can be digital, 35mm, quick print or throw away. The intent is not necessarily to create beautiful photographic images, however likely that may happen. The real intent is to document a process of observation and examination of a particular subject, point of view, condition, site and/or existing or set up environment.

Looking at something with intensity, using the camera and then, sequentially organizing the images and experiences are valuable and enlightening to all creative people. Further, the intent is not only to create a photo montage (the superficial response), but to really observe (almost scientifically) what the look, ambiance and psychology of a subject or a site can be.

Photographically documented observations can be applied to a specific job or project, used as preliminary sketches, linked to other workshops, computer enhanced or digitally manipulated and/or combined to produce pragmatic and beautiful results.

Seeking ideas to develop visual images is the purpose of this course of study. The camera is the tool; it can be digital, 35mm, quick print or throw away. The intent is not necessarily to create beautiful photographic images, however likely that may happen. The real intent is to document a process of observation and examination of a particular subject, point of view, condition, site and/or existing or set up environment.

Looking at something with intensity, using the camera and then, sequentially organizing the images and experiences are valuable and enlightening to all creative people. Further, the intent is not only to create a photo montage (the superficial response), but to really observe (almost scientifically) what the look, ambiance and psychology of a subject or a site can be.

Photographically documented observations can be applied to a specific job or project, used as preliminary sketches, linked to other workshops, computer enhanced or digitally manipulated and/or combined to produce pragmatic and beautiful results.

Over the years I have found that I can work with teachers, supervisors or coordinators to develop supplemental directions, involvements and techniques that provide significant and enjoyable information to participants. An intermediary can be an effective tool.

This has developed as a result of visiting graduate schools across the country as a guest critic, lecturer or thesis advisor. Prior discussion concerning the information to be covered usually provides a course of events that produces both a change of pace (an aside from the previous involvements or sessions) and "a breath of fresh air" that adds credence to what was offered or took place initially.

Such possibilities could include individual coaching, specific painting directions, design information, discussion about related projects (or creating related projects), mixed media or environmental interaction, or simply restating what ordinarily takes place.

The following are other categories and courses (not described in this presentation) I have coached, lectured, conducted or developed over the years:

• How to assemble a portfolio
• Writing bio's
• How to present a reel
• How to explore ideas
• Writing about visual concepts
• Artworks for kids
• Psychology for kids
• Art for teachers (all grade levels)
• How to job hunt (freelance or full-time)
• Satisfying criteria without boredom
• Writing for the new writer
• Printmaking (all types i.e., lithography, etching, silk-screen, linocut and woodcut)
• Art history (contemporary and all the "isms")