Artist, designer, and Savanah College of Art and Design instructor John Rise will lead this investigation into the use of watercolor as a drawing medium.
From Mr. Rise:
Watercolor as a drawing tool (a significant distinction from using watercolor as a painting medium) uses the material nature of the medium as a means to examine the value structure of composition; and to use the medium as a linear drawing tool. Structural value and continuous examination of the subject/composition, coupled with the aqueous quality of watercolor, will result in a more cohesive, unified and powerful watercolor composition.
This does not infer that the pieces we do in this workshop are not considered a "finished painting," but instead we will use watercolor to expand our preconceived use of the medium as a spontaneous medium. My position is that we can change the stereotype of watercolor, wet into wet, to a medium of drawing, removing those limitations imposed upon artists.
I look to Homer, Sargent, and the incredible watercolors by Andrew Wyeth as the summit of American watercolor. The British contribution of watercolor as manifested by John Constable, Joseph Turner and James Whistler (okay, he's an American - but expatriate) solidify our connotation of watercolor as a spontaneous, do-what-it-will-do-and-leave-it-alone medium.
But when we look at watercolors by the British artists, Richard Bonington, John Ruskin and William Blake; and the American watercolors of John Audubon, Walton Ford, and the Helga watercolors by Wyeth; we see a different/distinctive use of watercolor which takes more time and suggests more control of the media. When time is extended into the process of making a watercolor, then more physical layers of transparent paint and more layers of thought, ideas and content are infused into the finished product.
Lecture/Demo Friday, August 25, 5:30 - 7:30pm. $15 to register, gift bag with demo. Workshop Saturday, August 26, 10am - 4pm. $125, supplies needed, lunch provided. Gift bag with workshop, $50 value.