ArtistsBillofRights.org reviews competitions and appeals seeking creative content, listing those that respect your copyrights and highlighting those that don't. Art Matters! publishes calls to artists, and not all of them may be compliant with ABoR's standards. Visit their site to learn more.
By Peggy Stermer-Cox, 374 contributed posts
View all Peggy Stermer-Cox's posts. About the author: I begin my watercolor paintings with an idea and a drawing. I build the painting layer by layer, drawing lines and shapes, looking for rhythm and feeling. My color sense is a reflection of my childhood in New Mexico fused with colors of my home in the Northwest. My goal is to go beyond the surface to find joy, wonder and a bit of mystery. I have shown my works in galleries, juried, group and solo shows in Washington, Oregon, Montana and New Mexico. My paintings are in private collections in the west, New York and Norway.
To view examples of Peggy's work or to make contact with the artist, please visit her listing at the Southern Oregon Artists Resource.
To Draw, To Sketch, Drawing, Sketching, A Drawing, A Sketch.
I’ve been thinking about the difference between the act of drawing and sketching. And, I’ve been considering the finished products: a sketch and a drawing.
Defining the Difference Between Sketch & Draw.
Truthfully, I find it a struggle to come up with an easy way to describe the difference between the two that fits all cases.Or even most cases.Even still, a definition that might give me a “litmus” type test for what is a drawing and what is a sketch.
Shades of Gray.
You see, I tend to find myself thinking of exceptions.That is, I think the terms shades of gray. This is not a particularly helpful approach, however, when one wants to define something.
An Analogy.
But, I did think of analogy that may shed some light.Perhaps sketching is like writing short notes.Taking the analogy further, perhaps a finished drawing is more like a novel or a biography. It was the notes that you did during the research process that enabled you to write the novel or biography. Therefore, the act of drawing is like more in-depth drafts and finished writings of poetry, novels, biographies and so forth. Whereas, sketches are a type of research for that in-depth study or finished piece of art.
Time.
Another difference one might consider is time needed to produce the work. Sketches may be thought of as faster types of drawings. One works in haste to capture the essentials of the subject in a few minutes. On the other hand, a drawing might be a slower, more deliberate type of drawing. It might take hours, days or weeks to complete.
To Draw – Umbrella Term?
To my mind, I see the verb “to draw” as the umbrella term because it means to pull a mark across the surface.The result then is a drawing.To sketch, and the resultant sketch, would bea subset or specific type of drawing.Again, a faster, less developed type of a drawing. So, when a person draws to create a detailed, more finished work, then it would not be a sketch; instead a drawing.
Vague and Convoluted.
Do you see how easy it is to get vague and convoluted when considering the differences?
I think there is certainly a difference between the types of drawings.But, perhaps, types of drawings can be considered on a sketching/drawing continuum, with quick sketch at one end and finished drawing on the other end.
Clarity of Meaning.
So, why all this struggle to define?Clarity in communication might be one desired result.When I say “I draw out my design before I paint it“, I do mean a more deliberate preparatory drawing.A fair amount of thought and consideration has gone into the composition before I paint it.
On the other hand, sometimes I sketch rather than draw before paintings.That is, I note on the surface the boundaries or critical lines of the subject in a more simple manner.I leave the painting part of the process to develop the composition and design.
Ask The Artists or Draftsperson.
I do have one more thought.In some ways, it seems to me more appropriate for the artist to determine if their own work is a sketch or a drawing.Because the amount and type of work would be relative to the artist’s needs.That is, can you tell by a finished sketch or drawing the amount of work done beforehand?Maybe the answer is we think so, but may easily be deceived!
Still Thinking.
Incidentally,I still haven’t solved my own problem of writing about sketches or drawings. If I use only the words “sketch” or “draw” based on the work, then the writing becomes too stilted.That is to say, the same word gets used too often.So, how to solve this problem?I am not sure yet.
In the meantime, perhaps I’ll go work on a sketch or drawing.
Articles That Shed Light On The Subject.
Here is a list of four articles about the difference between drawing and sketching. You might find them helpful.
By Eve Margo Withrow, 66 contributed posts
View all Eve Margo Withrow's posts. About the author: Using mixed water media and collage, I paint surrealistic impressions reflecting the essential feeling ingredients of an experience. My clay sculptures explore natural processes of life from organic form to perspectives gained while navigating the flow of human experience. See Eve's listing at the Southern Oregon Artists Resource to learn more and make contact.
Shift to the Left
My creative life has taken a much needed turn to the left. For the last 15 years I have had the delight of playing a major role in grand-mothering. That girl is now in high school and although we are still very close, she is busy finding her way exploring her new life.
All of this time I have had my Artwork in Art & Soul Gallery in Ashland Or. and for 7years was one of the owners with 3 other women. It was fun to be a part of it all on that level but kept me busy enough that I struggled with getting and staying in my creative groove and following the threads which is the reason to do it. It kept me in my right brain which is not my home. A little more than a year ago, we sold the gallery. I still show there and it’s a lot less stress.
Now, I am finally focusing again on my teaching and creating. The shift has opened up new directions in my expressions. I’ve always been a texture freak but right now I am using physical instead of just visual. It creates an entirely new puzzle to solve and I’m having a blast following the new threads.
My biggest challenge now is with the technical expertise it takes to get the images and information out there. I’ve always referred to it as my “button impairment” but I think it is mostly being two generations too old and being dominantly left brained. So with focused attention and the grace of friends, I’ll function more comfortably soon.
I’ve recently joined forces with a wonderful Artist friend Pam Haunschild to teach workshops in other locations. Our theme is “Using textures to create Expressive Water-media paintings”. We will be teaching at the Emerald Art Center in Springfield OR (Eugene) May 9th and 10th.
Contact them at EmeraldArtCenter.org
We will be at the Mendocino Art Center in Mendocino, CA June 20th and 21st. Follow this link for full information: http://www.mendocinoartcenter.org/Summer20/Haunschild-Withrow
The information is also on my website and posted on our Facebook pages at, Eve Margo Withrow and Pamela Haunschild .I’ll also be teaching more often here in my home studio so stay tuned.
By Dana Feagin, 79 contributed posts
View all Dana Feagin's posts. About the author: I am an oil painter devoted to animal art, painting animals that I find interesting and amusing and commissioned pet portraits. My realistic style often uses solid colors or patterned backgrounds for a pop art feel, but I also love painting the faces of animals cropped very closely with no background at all. Many of my works feature animals from local rescue groups; 10% of my sales are donated to Sanctuary One in Jacksonville and Friends of the Animal Shelter in Phoenix. You can find my complete set of links and contact information in my listing at the Southern Oregon Artists Resource.
My painting of Cookies, a former blood donor cow, was featured on the cover of the Rogue Valley Messenger in December. That issue also includes an interview about me and my art, which you can find here.
By Anna Elkins, 152 contributed posts
View all Anna Elkins's posts. About the author: art + word + spirit: A painter and poet, I play in the crossroads of art & spirit. My paintings are visual stanzas of a poem I will spend my life writing - with brush & pen. I've had the honor to create and exhibit art in the United States, Europe & Micronesia. "As with poetry, painting is either a battle or a dance. Given the choice between music & a sword, I choose music." See Anna's listing at the Southern Oregon Artists Resource.
Paris, New York, San Francisco…and Southern Oregon! A dream lineup for a poetry book tour, and I’m so grateful for the friends in each place who helped make this happen. Hope of Stonesis ready to greet the world, and you can pre-order it via my wonderful publisher, Press 53.
I’m going to let the dear poets who wrote praise for the book speak for me on this blog. Continued gratitude to them for the beautiful words!
+++
Anna Elkins’ Hope of Stones is a magnificent (I do not use the word lightly) collection—a beautiful, moving, and thought-provoking book of poems. The writing is striking in its control of tone and its precision, unfolding layer after layer of resonance and implication. Three characters: the nun, the architect, the poet who triangulates the relationship. Three different times in history, three different significant endeavors: the architect’s Paris below ground that reflects and supports the Paris above; the visionary nun’s passionate immersion in the inner mansions of God’s Castle; the poet’s engagement in the sensuous spirituality of her research. Give this book to everyone you love. No book of poems I’ve read in a long time more deserves serious, joyful attention and a wide readership.
—Jim Peterson, author of Speech Minus Applause
This gorgeous book of contemplative poems refuses to accept an easy division between work and prayer. Here, hope is not a thing with feathers. Hope is a paradox, a thing with both heft and light. It is weightless with history, ruin, and body. It is heavy with abyss, nothingness, and caves. Bone and stone point beyond themselves towards the absence of building things up and the presence of emptying things out. Language is both meaningful and errant or even wayward: “earth / is an anagram for heart.” A nun prays “none” against “none.” A whole is reminiscent of a hole. This is a poet’s clearing, housed in eventual collapse. The one who works and the one who prays cross paths, eventually, head to head, skull to skull, in the undertaking of the poet, who excavates a kind of fast, and a kind of pilgrimage, as a way of seeking the first lost garden fruit–the castle cathedral, the ever-never-catacombs–unpicked, undisturbed, and undreamed.
—Gina Franco, author of The Accidental
In Hope of Stones, Anna Elkins creates a multi-various and many-voiced world—set both in the present and in two different pasts, and narrated by three different characters—the Nun, the Architect, and the Poet. This fantastic book reminds me of A. Van Jordan’s M-A-C-N-O-L-I-A, another hybrid collection that brings strong individual poems together into a cohesive narrative. Whereas Jordan’s mode is often cinematic, Elkins works as a portrait painter. Through osmosis, the scholar-poet becomesthe architect and the nun, allowing this intertwined history to work also as an extended metaphor on creativity and desire: “One stair at a time / one corridor after another & a final glimpse / up a shaft to see the pinhole light of sky shining / though a manhole cover….”
—Sebastian Matthews, author of Beginner’s Guide to a Head-on Collision
Hope of Stones is an elegant collection. Its formally accomplished poems, distinct voices, and visual design invite us to see the page as a temporal-geographical region. The architect, Charles-Axel Guillaumot, speaks from the lower left margin where he focuses on materiality, catacombs and the undergirding of Paris as he tries to save the city from collapse; the nun, Teresa of Avila, speaks from the upper right margin, where she shares her architectural vision of the spirit. And the poet, who is either in Oregon or traveling, occupies the center of the page where she brings her own dailiness—fires in summer, plums ripening—into conversations with these historic figures. The poet descends literally beneath Paris in her quest for the architect and ascends into the ethereal and sometimes levitational world of the nun. Like Dante, Elkins takes us on a journey. Hope of Stones traverses countries, continents, and historical periods until finally time and space collapse into a kaleidoscope of spirit.
By Eve Margo Withrow, 66 contributed posts
View all Eve Margo Withrow's posts. About the author: Using mixed water media and collage, I paint surrealistic impressions reflecting the essential feeling ingredients of an experience. My clay sculptures explore natural processes of life from organic form to perspectives gained while navigating the flow of human experience. See Eve's listing at the Southern Oregon Artists Resource to learn more and make contact.
Mendocino Art Center Workshop
EXPRESSIVE WATERMEDIA TEXTURES
Full Moon Sky by Eve Margo Withrow Mixed water media on paper
Instructors: Pam Haunschild and Eve Margo Withrow June 20–21, 2020 (Saturday–Sunday, 9:30am–4:30pm) All levels
Register Online Now
Or call the Mendocino Art Center Registrar:
707 937-5818, ext. 10 or toll-free 800 653-3328, ext. 10
CLASS DESCRIPTION
In this fun and exciting workshop, we will create textured, complex watermedia (acrylic/watercolor) backgrounds and then work on turning them into harmonious, successfully finished paintings. You have your choice of working in acrylics and/or watercolors along with a gesso mixture (provided).
Texture makes your painting feel more dynamic, creates a sense of depth, and helps viewers emotionally connect with a painting. Texture is sometimes visual (on the surface) and sometimes dimensional (raised above the surface). We will work with both types of texture in this workshop.
Mossed in the Forest Eve Margo Withrow
Eve specializes in the visual (surface) textures by layering and manipulating watermedia. Interesting patterns and images emerge from her process. She uses tissue paper, plastic wrap, salts, bleach, and other materials to create layers; following threads and surprises and imaginative pathways to create her uniquely powerful images. She then uses windowing and design techniques and sometimes collage to turn textural starts into finished paintings.
Pam specializes in creating dimensional texture through the use of gesso with various texturing materials. Using a gesso underlayer allows a great deal of flexibility in subsequent layers, which can be either watercolor or acrylic. Pam will provide you with a pre-gessoed paper and demonstrate not only the various ways gesso texture can be applied, but how to finish these painting using value contrast and negative painting techniques.
These texturing processes will produce uniquely interesting and creative paintings. Bring a sense of adventure and spontaneity and you will be amazed at what can result. The class is appropriate for anyone – beginners will have no trouble with the methods used and more advanced painters will be able to add complex texturing processes to their repertoire. You will leave with at least twelve painting starts, and one or two completed paintings.
ABOUT THE INSTRUCTORS
PAM HAUNSCHILD is a watermedia artist who devotes her time to capturing the beauty of nature in the American West. She is a retired college professor who now lives in Ashland, Oregon, and paints full time. She has been and artist-in-residence at three national parks and continues to be inspired by her time there. Her work is in galleries in Ashland, Seaside, and Bandon, Oregon, and is held by many individual and corporate collectors, including the National Park Service. She has done many commissions, most recently designing and painting a poster and playbill cover for the Britt Festival in Jacksonville, Oregon, and a large native plant mural at Southern Oregon University.
Pam has taught many watermedia workshops in Oregon and Northern California, including at Sitka Center for Art and Ecology and Coos Art Museum and enjoys helping all students discover new methods of painting while using (or developing) their own unique artistic style.
EVE MARGO WITHROW is an international award-winning professional artist. She uses mixed watermedia (acrylics and watercolor) and frequently layers and collages her materials. Her paintings are magical impressions that reflect feelings of a particular experience or place. She is always curious to explore what lies outside the box. “I play and adventure with my textures, layers and colors, following threads here and there, thus entering the flow of my creative process.”
Eve has a master’s degree in art education from the University of Wyoming. With over 40 years experience in teaching art classes and workshops, Eve masterfully guides and encourages participants to awaken to their innate creativity by experiencing the joy of self-expression. Eve is a previous owner of Art & Soul gallery in Ashland, Oregon, and is currently showing her work there, along with Rogue Gallery in Medford. She has taught many workshops across the western United States.
TUITION & FEES
Current MAC Members: $216
Non-members: $240 plus a $45 non-member registration fee
There is a registration fee of $45 for each class for non-members. Current Mendocino Art Center members do not pay a registration fee and may take 10% off each class registration. The discount is reflected in the prices above. Not a member yet? You may sign up below.
View our membership benefits
REFUNDS & CANCELLATIONS
Cancellations must be made in writing, either by mail or email. If you notify us at least 21 days prior to the first class meeting, you will receive a refund of tuition less a $45 cancellation fee. No refunds will be made after that date for any reason due to our contractual obligations and material acquisitions. If the Art Center is compelled to cancel a class you will receive a full tuition refund. Memberships are non-refundable as they are considered a donation to the Art Center.
Instructor materials fee: $10. We will be providing gesso mixture, containers, an assortment of texturing materials, one pre-gessoed piece of paper, and an extra squeeze or two of paint so you don’t have to buy a whole tube of something you want to try.
By Eve Margo Withrow, 66 contributed posts
View all Eve Margo Withrow's posts. About the author: Using mixed water media and collage, I paint surrealistic impressions reflecting the essential feeling ingredients of an experience. My clay sculptures explore natural processes of life from organic form to perspectives gained while navigating the flow of human experience. See Eve's listing at the Southern Oregon Artists Resource to learn more and make contact.
Emerald Art Center Workshop
Using Texture to Create Expressive Watermedia Paintings.
I am teaching a workshop with Pam Haunschild at Emerald Art Center on Saturday and Sunday, May 9-10. The topic is Using Texture to Create Expressive Watermedia Paintings.
Full Moon Sky by Eve Margo Withrow Mixed water media on paper
Instructors: Pam Haunschild and Eve Margo Withrow May 9–10, 2020 (Saturday–Sunday, 9:30am–4:30pm) All levels
CLASS DESCRIPTION
In this fun and exciting workshop, we will create textured, complex watermedia (acrylic/watercolor) backgrounds and then work on turning them into harmonious, successfully finished paintings. You have your choice of working in acrylics and/or watercolors along with a gesso mixture (provided).
Texture makes your painting feel more dynamic, creates a sense of depth, and helps viewers emotionally connect with a painting. Texture is sometimes visual (on the surface) and sometimes dimensional (raised above the surface). We will work with both types of texture in this workshop.
Mossed in the Forest Eve Margo Withrow
Eve specializes in the visual (surface) textures by layering and manipulating watermedia. Interesting patterns and images emerge from her process. She uses tissue paper, plastic wrap, salts, bleach, and other materials to create layers; following threads and surprises and imaginative pathways to create her uniquely powerful images. She then uses windowing and design techniques and sometimes collage to turn textural starts into finished paintings.
Pam specializes in creating dimensional texture through the use of gesso with various texturing materials. Using a gesso underlayer allows a great deal of flexibility in subsequent layers, which can be either watercolor or acrylic. Pam will provide you with a pre-gessoed paper and demonstrate not only the various ways gesso texture can be applied, but how to finish these painting using value contrast and negative painting techniques.
These texturing processes will produce uniquely interesting and creative paintings. Bring a sense of adventure and spontaneity and you will be amazed at what can result. The class is appropriate for anyone – beginners will have no trouble with the methods used and more advanced painters will be able to add complex texturing processes to their repertoire. You will leave with at least twelve painting starts, and one or two completed paintings.
ABOUT THE INSTRUCTORS
PAM HAUNSCHILD is a watermedia artist who devotes her time to capturing the beauty of nature in the American West. She is a retired college professor who now lives in Ashland, Oregon, and paints full time. She has been and artist-in-residence at three national parks and continues to be inspired by her time there. Her work is in galleries in Ashland, Seaside, and Bandon, Oregon, and is held by many individual and corporate collectors, including the National Park Service. She has done many commissions, most recently designing and painting a poster and playbill cover for the Britt Festival in Jacksonville, Oregon, and a large native plant mural at Southern Oregon University.
Pam has taught many watermedia workshops in Oregon and Northern California, including at Sitka Center for Art and Ecology and Coos Art Museum and enjoys helping all students discover new methods of painting while using (or developing) their own unique artistic style.
EVE MARGO WITHROW is an international award-winning professional artist. She uses mixed watermedia (acrylics and watercolor) and frequently layers and collages her materials. Her paintings are magical impressions that reflect feelings of a particular experience or place. She is always curious to explore what lies outside the box. “I play and adventure with my textures, layers and colors, following threads here and there, thus entering the flow of my creative process.”
Eve has a master’s degree in art education from the University of Wyoming. With over 40 years experience in teaching art classes and workshops, Eve masterfully guides and encourages participants to awaken to their innate creativity by experiencing the joy of self-expression. Eve is a previous owner of Art & Soul gallery in Ashland, Oregon, and is currently showing her work there, along with Rogue Gallery in Medford. She has taught many workshops across the western United States.
TUITION & FEES
$175 for both days + $15 for materials. We will provide gesso mixture, containers, an assortment of texturing materials, one pre-gessoed piece of paper, and an extra squeeze or two of paint so you don’t have to buy a whole tube of something you want to try.
By Eve Margo Withrow, 66 contributed posts
View all Eve Margo Withrow's posts. About the author: Using mixed water media and collage, I paint surrealistic impressions reflecting the essential feeling ingredients of an experience. My clay sculptures explore natural processes of life from organic form to perspectives gained while navigating the flow of human experience. See Eve's listing at the Southern Oregon Artists Resource to learn more and make contact.
Emerald Art Center Workshop
Using Texture to Create Expressive Watermedia Paintings
Full Moon Sky by Eve Margo Withrow Mixed water media on paper
Instructors: Pam Haunschild and Eve Margo Withrow May 9–10, 2020 All levels
In this fun and exciting workshop, we will create textured, complex watermedia (acrylic/watercolor) backgrounds and then work on turning them into harmonious, successfully finished paintings. You have your choice of working in acrylics and/or watercolors along with a gesso mixture (provided).
Texture makes your painting feel more dynamic, creates a sense of depth, and helps viewers emotionally connect with a painting. Texture is sometimes visual (on the surface) and sometimes dimensional (raised above the surface). We will work with both types of texture in this workshop.
The class is appropriate for anyone – beginners will have no trouble with the methods used and more advanced painters will be able to add complex texturing processes to their repertoire. You will leave with at least 12 painting starts, and one or two completed paintings. Although the instructors work with nature subjects, you can work on the imagery of your choice as a final product.
In this post are examples of paintings Eve created using the techniques she and Pam teach in this class. See exampleso fPam’s work on her website: www.PamHaunschild.com
Mossed in the Forest Eve Margo Withrow
Eve specializes in the visual (surface) textures by layering and manipulating watermedia. Interesting patterns and images emerge from her process. She uses tissue paper, plastic wrap, salts, bleach, and other materials to create layers; following threads and surprises and imaginative pathways to create her uniquely powerful images. She then uses windowing and design techniques and sometimes collage to turn textural starts into finished paintings.
Pam specializes in creating dimensional texture through the use of gesso with various texturing materials. Using a gesso underlayer allows a great deal of flexibility in subsequent layers, which can be either watercolor or acrylic. Pam will provide you with a pre-gessoed paper and demonstrate not only the various ways gesso texture can be applied, but how to finish these painting using value contrast and negative painting techniques.
These texturing processes will produce uniquely interesting and creative paintings. Bring a sense of adventure and spontaneity and you will be amazed at what can result. The class is appropriate for anyone – beginners will have no trouble with the methods used and more advanced painters will be able to add complex texturing processes to their repertoire. You will leave with at least twelve painting starts, and one or two completed paintings.
ABOUT THE INSTRUCTORS
Watchful Eyes Painting by Eve Margo Withrow
EVE MARGO WITHROW is an international award-winning professional artist. She uses mixed watermedia (acrylics and watercolor) and frequently layers and collages her materials. Her paintings are magical impressions that reflect feelings of a particular experience or place. She is always curious to explore what lies outside the box. “I play and adventure with my textures, layers and colors, following threads here and there, thus entering the flow of my creative process.”
Eve has a master’s degree in art education from the University of Wyoming. With over 40 years experience in teaching art classes and workshops, Eve masterfully guides and encourages participants to awaken to their innate creativity by experiencing the joy of self-expression. Eve is a previous owner of Art & Soul gallery in Ashland, Oregon, and is currently showing her work there, along with Rogue Gallery in Medford. She has taught many workshops across the western United States.
PAM HAUNSCHILD is a watermedia artist who devotes her time to capturing the beauty of nature in the American West. She is a retired college professor who now lives in Ashland, Oregon, and paints full time. She has been and artist-in-residence at three national parks and continues to be inspired by her time there. Her work is in galleries in Ashland, Seaside, and Bandon, Oregon, and is held by many individual and corporate collectors, including the National Park Service. She has done many commissions, most recently designing and painting a poster and playbill cover for the Britt Festival in Jacksonville, Oregon, and a large native plant mural at Southern Oregon University.
Pam has taught many watermedia workshops in Oregon and Northern California, including at Sitka Center for Art and Ecology and Coos Art Museum and enjoys helping all students discover new methods of painting while using (or developing) their own unique artistic style.
Eve and Pam are the perfect compliment to each other in presenting and facilitating this creative journey, and they both have extensive teaching experience and coordinate well together so that participants will come out of the workshop with a variety of techniques and tools to start or expand their repertoire of texturing techniques.
materials List
Artist grade acrylics in your choice of colors. Bring colors you like to work with. Just be sure you have a warm and cool yellow, red, and blue as a minimum. If you don’t have acrylics, we will provide them for a $15 materials fee.
Artist grade watercolors in your choice of colors as above. If you don’t have watercolors, we will provide them for a $15 materials fee.
Brushes you like to use.
Three large (22 x 30) pieces of hot press watercolor paper. 140# is fine, unless you prefer working on heavier paper.
Water containers, paper towels, palette, scissors, spray bottle for water.
Texturing materials: we will a lot of these materials for you. But we also encourage you to bring anything you think you may like to work with. Examples include stamps, stencils, scratchers, sponges, textured fabric or paper, shells, etc.
Two or three old watercolor or acrylic paintings that you don’t mind reworking
We will provide the gesso mixture, gesso brushes and sponges, other containers and applicators and an assortment of texturing materials, stencils, and reference images.
Bonjour! If there is any part of you that is not so secretly craving a week in Paris, exploring, people watching, museum going, boat riding, painting and more….there are TWO SPACES left in this unique and wonderful art & travel workshop. There is time!
Your hosts are Deep Travel Workshops. Your guest art instructor is moi! The dates are April 4-10, 2020 and in that week it is a fabulous creative combination of time to explore on your own, art instruction après we’ve captured our favorite Paris shots on our iphones, world famous art museums and galleries, Paris walking tours, boat ride on the Seine…and so much more. (I haven’t even started on the restaurants, cafés or patisseries…)
We will cover the iconic landmarks and because we are a small group, it will be easy to get around together–especially with our world travellers, Anna & Christina. This is truly a once in a lifetime opportunity to give yourself the gift of creative time in Paris.
Please see this Paris Guide for more details. I can taste the croissants already….
By Anna Elkins, 152 contributed posts
View all Anna Elkins's posts. About the author: art + word + spirit: A painter and poet, I play in the crossroads of art & spirit. My paintings are visual stanzas of a poem I will spend my life writing - with brush & pen. I've had the honor to create and exhibit art in the United States, Europe & Micronesia. "As with poetry, painting is either a battle or a dance. Given the choice between music & a sword, I choose music." See Anna's listing at the Southern Oregon Artists Resource.
Come with us!
Deep Travel is heading to Paris in April! We have two spots left on the trip, which runs from April 4-10. For six splendid days, our small group will be exploring the City of Light’s boulevards, bridges, bistros, galleries, patisseries, and parks.
We’ve named this trip “The Artist’s Life,” and that’s exactly what you’ll get to explore. To enrich our travels, we’ll hold daily “happy hour” art sessions blending art, writing, and conversation. We’ll be staying in the marvelous Marais neighborhood—my favorite—in walking distance of the Seine, Notre Dame, the Louvre, Luxembourg Gardens, and countless eateries.
A few extra perks: a luncheon cruise along the Seine, a dinner and literary salon in a private home on the city’s oldest park, and a walking around our Marais neighborhood with author and Paris podcaster, Oliver Gee.
I’ve been delighted to help organize Deep Travel trips since 2014. We’ve gone to Morocco, Mexico, Spain, and Nepal, and this will be our first Deep Travel workshop in Paris.
For more info, visit the Deep Travel website. And for even more photos and fun, check out the Facebook page.
By Peggy Stermer-Cox, 374 contributed posts
View all Peggy Stermer-Cox's posts. About the author: I begin my watercolor paintings with an idea and a drawing. I build the painting layer by layer, drawing lines and shapes, looking for rhythm and feeling. My color sense is a reflection of my childhood in New Mexico fused with colors of my home in the Northwest. My goal is to go beyond the surface to find joy, wonder and a bit of mystery. I have shown my works in galleries, juried, group and solo shows in Washington, Oregon, Montana and New Mexico. My paintings are in private collections in the west, New York and Norway.
To view examples of Peggy's work or to make contact with the artist, please visit her listing at the Southern Oregon Artists Resource.
Recent Self Portrait.
I rarely draw or paint my self portrait. Perhaps this is because I’m not that great of a model! That is, I wiggle too much.
During this past month’s “Strada Easel Challenge”*, I did a self portrait as part of my daily “drawing from life”. Given my infrequent work at portraits and difficulty holding a pose, I was fairly pleased with the results.
Me As Five Year Old Artist Model.
Which reminds me of the time when I was about five years old and my Dad, artist John Stermer, drew my portrait. At the time, Dad was doing portraits of his children; sort of a mini project. Being the fourth in line, I’d seen my brother and two older sisters get their portrait drawn. I was so excited when it was my turn.
And, this was when I received my first lesson on being a model. First of all, I wanted to use the pose my Dad had used for my previous older sister. I wanted to be like her. So, I tucked my hands under my chin and persuaded my Dad that this was a good idea. And, second of all, I thought that I could kept still. But, not surprising, I didn’t. I remember Dad asking me to be still, be quiet and to resume my pose. Dad was infinitely patient and understanding. I am sure the session was under an hour. And we took breaks. But the entire session seemed to take forever.
Oh, yes, Dad drew this series of portraits using everyday crayons. I was so enchanted and amazed; my drawings with crayons never looked like that! (Yes, there is a hint of me taking a photo of Dad’s drawing).
Understanding The Model’s Situation.
Fast forward to recent times. I have participated in live drawing classes and sessions as the artist, not the model. It is critical that I, as the artist, understand what it takes for the model to assume a pose and keep it. I have come to realize, that I inadvertently expect the model to hold the pose perfectly. It’s not possible and it is the artist’s responsibility to adjust to the model; not vice versa. And, as one who can not hold a pose, it’s my job to be understanding.
Self Portrait: Exercise In Learning About Drawing With A Model.
So, on the rare occasions that I do draw a self portrait, I spend some of the time re-learning how to be the model. And, how to draw from a model. Who knows, I always have intentions to do more; maybe one day I will.
In the meantime, I hope you enjoy my self portrait and the John Stermer portrait of me as a five year old child!
*PS. I hope to discuss the “Strada Easel Challenge” in a future post. In the meantime, I invite you to take a look at their website.
I participated two years ago and you can see the results on this lesson’s learned page.
My painting of Cookies, a former blood donor cow, was featured on the cover of the Rogue Valley Messenger in December. That issue also includes an interview about me and my art, which you can find 
