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Sunday, April 29, 10 am - 12:30 pm
Room A

During this inspiring workshop, Juan will present contemporary views of how the figure can be represented. The experimental portion of the workshop will encourage playing with the mark making process to create form and volume. Some portion of the time will be spent preparing the surface with monotypes, collage, textures, and other treatments. A variety of mediums, including unfamiliar ones, will be introduced into this process.

Before coming to class...

Suggested Surface Pre-treatment:

Monotype - placing water based inks or oil based inks on a glass or Plexiglas, applied with any drawing or painting tools, creating masses, forms and strokes of color and shape and then pressing the glass or Plexiglas on to the surface of the paper or drawing support. Let it dry. No latter manipulation required

Transferring - Using Xeroxed, photocopied or photographed images and shapes to be transferred to the drawing support using solvents such acetone, turpentine and alcohol. Process has to be done in a properly ventilated room, using a respirator.

Collage - Gluing photo based imagery, painted or drawn forms in any media, cut outs, diverse paper textures industrially or manually etc. to create dense combination of colors, forms and textures that will function as backgrounds. Working with masking tape of different colors to create a collaged tape surface as light or dense as desired.

Frottage - Creating marks and forms with diverse drawing media by pressing the drawing surface against any physical texture, that by hand rubbing will bring regular and irregular marks to the surface of the paper or drawing support.

Photo - Emulsion surface - Working on a surface that could be an entire photograph in itself (better to work with non representational patters of imagery) or a collage of photo based imagery. Black and white RC photo paper, fiber based black and white photo paper, C-print paper, etc. Photographic Imagery can be manipulated and eliminated by wetting the emulsion and scrapping with an spatula or palette knife and also by sanding it with very smooth sand paper

Suggested Supplies:

Bring as many or as few different supplies as you want, depending on the level of experimentation you would like to work on.

• Strahtmore Drawing Paper regular Surface 80 lb., 18x24"
• Arches 140 lb. watercolor paper, hot press (smooth surface), 22x30".
• Crescent Papermat 32x40, white #960.
• Primed Masonite Board, 23x36" aprox.
• Any heavy weight multipurpose drawing paper 24x36" approx.
• Arches or Rives Printmaking paper 18x24" or 24x36" approx

Suggested Surface Pre-treatment:

Monotype - placing water based inks or oil based inks on a glass or Plexiglas, applied with any drawing or painting tools, creating masses, forms and strokes of color and shape and then pressing the glass or Plexiglas on to the surface of the paper or drawing support. Let it dry. No latter manipulation required

Transferring - Using Xeroxed, photocopied or photographed images and shapes to be transferred to the drawing support using solvents such acetone, turpentine and alcohol. Process has to be done in a properly ventilated room, using a respirator.

Collage - Gluing photo based imagery, painted or drawn forms in any media, cut outs, diverse paper textures industrially or manually etc. to create dense combination of colors, forms and textures that will function as backgrounds. Working with masking tape of different colors to create a collaged tape surface as light or dense as desired.

Frottage - Creating marks and forms with diverse drawing media by pressing the drawing surface against any physical texture, that by hand rubbing will bring regular and irregular marks to the surface of the paper or drawing support.

Photo - Emulsion surface - Working on a surface that could be an entire photograph in itself (better to work with non representational patters of imagery) or a collage of photo based imagery. Black and white RC photo paper, fiber based black and white photo paper, C-print paper, etc. Photographic Imagery can be manipulated and eliminated by wetting the emulsion and scrapping with an spatula or palette knife and also by sanding it with very smooth sand paper

Drawing Media

• Black drawing ink
• Soft Charcoal pastel/ box of 12 bars
• Compressed charcoal/ box of 12 bars
• Vine charcoal - thin and medium
• Graphite pencils - 4H, 2H, HB, 2B, 4B, 8B
• Pure Graphite bars - 3B, 6B, 9B
• Oil bars - ivory black, titanium white, French ultramarine, cadmium red, cadmium lemon yellow
• Tempera - black, white, red blue, yellow
• Stones Lithographic crayon/ quarter of an inch - #2, #3, #4
• Conte Crayons - black, sienna- 1 stick each
• Color markers - black, carmine red, ultramarine
• Color Pencils
• White nylon brushes - #2, #4, #10, #12 round and #8 (flat)
• Bamboo brush
• Bamboo pen
• Staedler Mars plastic eraser
• Designer Kneaded erase
• Artgum eraser
• Workable fixative
• Blending stamp - small and large
• Plastic cups
• Masking tape
• Allway multipurpose cutter
• Scissors
• Hand pencil sharpener
• Supports