Since 2016 I teach drawing with the techniques of Miguel Gonzalez Casanova following Aceves Navarro’s tradition. From his book Gramática del Dibujo, a technique that uses both hands to develop fine motricity and perception I propose a series of exercises. The use of both hands to draw requires also the participation of both hemispheres of the brain, which have different functions according to various studies. The left lobule of the brain is a rational tool that perceives lines and the right lobule perceives better space and intuition. When students use their left and right hand to draw in various exercises with various materials they lose their fear to experiment and do sensible drawings. The integration of two visions and two motricities, through drawing models becomes like practicing mindful meditation. The attention given to drawing the model detaches prejudices about the object or subject to be drawing, the student learns to represent unperceived aspects, discovers the object as if it has never seen before, putting the attention in invisible aspects such as weight, density, emotion, textures, smells, vibrations, movement, symbols, icons. 

Here a series of techniques I use to teach adults and young students to find their own resources to feel at ease and be introduced to acquire drawing and painting techniques to enjoy their creativity.

12 workshops

3 sessions of Silhouettes and symmetry: Drawing a series of models with both hands, looking and not looking at the paper, following the object or the space around the object. Is an exercise of concentration, of following with the eye the edge of the model to create silhouettes. After doing a series of silhouettes the students are invited to do a composition that finds balance with very diverse forms in a background. The drawings will be made with charcoal, pencil, ink, pastel and gouache. Some silhouettes will be made by cutting the paper by hand.

3 Sessions of Composition: Exploring ways to create silhouettes with various materials colored paper, textile, plastic, clay, metal, create compositions that can be mobile. Photograph different possibilities of composition, invite another fellow student to find a symmetrical balance in the composition.

2 Sessions of mass and density of models: Drawing as if the line is representing not the border of the form but the density and the weight of the model. Drawing the air that surrounds the model. Make an ephemeral sculpture and draw the mass and all what is not the mass. Series of exercises with both hands, and charcoal, pencil, ink and watercolour.

2 Sessions of Texture, details and sensations: Peeling a lettuce, an orange or a lemon and drawing the textures, details, smells, flavour, colors. Exercise of holding a stone and drawing the weight. Exercise of drinking water and drawing how it feels entering the body. Go outside and find things with texture in the street. Use the texture to mark it in different parts of the paper, make a collage with those textures. Materials used: crayons, ink, watercolor, gouache on paper.

2 Sessions of drawing and painting with emotions: Doing model drawing with music and use the music to choose emotions. Do short exercises to draw the model with love, hate, sympathy, care, fear, anxiety, softenss, kindness, etc. Use color and search for colors that accentuate the emotions. Exercise theory of color in those art pieces. Creating contrast, complementarity, vibration.

Introducing the icons and symbols 

Ex-votos and drawing a dream workshops

Ask the students to close their eyes and meditate 10 minutes to remember one miracle or dream in their life. Students draw on a piece of cardboard and paint with gouache. They can do research of iconography from the library or the internet to nourish their visions with more precise shapes. They can use collage to do their first sketches. Materials: cardboard, acrylic, gouache, sequins, collage paper.

Developing creativity

The exercises of Lowenfield of the 7 points. Starting from drawing seven points on a piece of paper, the students create a character. Develop a story or a series of versions of those characters.

Objects holding an image. From discarded objects such as a suitcase, a piece of cloth, a box, an envelope, a bag, etc, the student imagines a form that can be painted on its surface.

From a memory or a dream the students draw an element: a tree, the sea, a staircase, they research visual poetry or text that can play a relationship with that element. They create a composition with the image and the text. Research meanings and collect representations of the symbols or objects that have been vision.

Exploring transdisciplinarity 

Art and memory. Presenting my research of drawing dreams as visions to heal trauma and repair with local archives and memory of the zones of conflict. Representations of testimonies of victims and survivors. A collaboration between historian and artist.

The power of dreams and spiritual visions, invite a herbalist or therapist or neurologist to discuss plants that help remember dreams. Collaboration with Belle Benfield. Students draw dreams and plan concrete actions from their dreams to perform.