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In her warm and engaging way of teaching, Sherrie shows how the languages of painting and drawing developed. These two very different languages satisfy two very different needs. She explains that painting was designed to read from the back of a church or across a palace room, and therefore keeping strong simple shapes was the most important requirement. Drawings were always intimately viewed in the privacy of the artist’s studio, so modeling in the shadow and light is perfectly readable and appropriate for this language. And that is why certain solutions work in drawing that simply don’t work in painting. This fact is vital in understanding the problems that plague painters when their paintings go south. Quite often painters are using drawing solutions instead of painting solutions. Ironically when drawings go off, one common reason is because painting solutions are being used instead of drawing solutions. Sherrie explains why the success of a drawing depends on the use of line.
After covering a short history of the development of both painting and drawing, she then does a demonstration to show how the language of painting works. She paints a pear in order to create form on a flat surface.
As her students ask insightful questions, Sherrie shares her philosophy about painting as a window into the fabric of the universe, and a rich understanding of its infinite beauty.