Sketch Bhutan June 2018 / June 28, 2018 by erwin lian

Last week marked the successful collaboration with Drukasia for Sketch Bhutan 2018, a unique sketching tour. Similar to the previous year, participants from Australia and Singapore joined the all-inclusive tour, engaging in the art of sketching and painting while exploring the captivating landscapes of Bhutan over a 7-day period.

Chimi Lhakhang, Punakha (36.5 cm x 24 cm)

Shop houses opposite the post office. (26 cm x 18 cm)

The backstory to and Foundation of Sketch Bhutan:
Around three years ago, the journey began with a month-long volunteer experience in Bhutan, where I served as an art coach in primary schools and organizations.

Taught drawing to Shaba Primary and donated some art supplies to their art club.

During this period, I initiated the Thimphu chapter of Urban Sketchers, an effort to foster local artistic communities. However, the internal conflict arose when faced with the question of encouraging art as a hobby or a potential livelihood for Bhutanese children. This dilemma inspired the inception of Sketch Bhutan, aiming to bring tourists to Bhutan not just for sketching and touring but for meaningful interactions with local artists.

The founding members of Urban Sketchers, Thimphu

At Shaba Primary, I brought them art supplies and sketchbooks sponsored by Bynd Artisan and a few friends.

Unique Focus of Sketch Bhutan
In contrast to conventional sketching experiences, Sketch Bhutan distinguishes itself by not solely emphasizing technical competencies. The primary goal is to offer participants the perfect travel sketching experience, allowing them to immerse themselves comfortably in the environment. This is facilitated by the presence of a professional tour guide and driver, providing a harmonious on-location group sketching experience.

Highlights of Sketch Bhutan 2018:
The tour showcased various highlights, including discovering a new sketching and painting spot at Tashichho Dzong. VAST Bhutan graciously hosted the group, with local students acting as models. Noteworthy moments included a spontaneous encounter with local children offering candies during sketching in Thimphu and the exploration of color theory and watercolor techniques in Punakha. The tour concluded with a visit to the iconic Tiger Nest at Paro.

Another successful run of portrait drawing at VAST Bhutan

Sangay and her friend Tshsten were our beautiful models

Punakha Dzong. The most beautiful Dzong in Bhutan

Next Sketch Bhutan and Leadership Transition:
The future of Sketch Bhutan hinges on the interest of at least four participants who can register through the Drukasia tour agency. Bhutan's esteemed artist, Rajesh, a co-founder of VAST Bhutan, will take the lead in guiding future sketching sessions. Interested participants are encouraged to contact Drukasia for more information.

Rajesh, one of the finest artists in Bhutan will be leading Sketch Bhutan tours. Contact Drukasia to book your next sketching tour.

Learnings and Reflections: The narrative outlines the evolution of Sketch Bhutan over multiple trips, emphasizing personal growth and learning:

1st time:

The enchantment with Bhutan's landscape and the realization of a wish to paint the place.
An interesting exchange - my sketches featured on Drukasia's corporate calendar in return for a two-week trip to Bhutan.

Paintings featured in Drukasia's calendar

2nd time:
Solo painting trip.

A solo painting trip led to unique encounters and opportunities, including a commissioned painting for Drukair and participation in a group show in Singapore..

Group show with Asha Karma and other VAST artists.

3rd time:

A more extended stay in Bhutan involved teaching and volunteering at various schools.
Immersive experiences in local life and the founding of the Urban Sketchers, Thimphu chapter..

Teaching basic of drawing at VAST Bhutan

Assisted in founding the Urban Sketchers, Thimphu chapter. The subsequent year saw the founding members of Urban Sketchers, Thimphu, receiving invitations to participate in the Urban Sketchers Symposium held in Singapore.

4th time:

The initiation of Sketch Bhutan in collaboration with Drukasia, involving eight special participants.
Confronting challenges in running a successful traveling workshop, touching upon aspects such as cost, preparation, marketing, logistics, and teaching materials.

5th time:
Second Sketch Bhutan.

Successful handover of Sketch Bhutan to Bhutanese artist Rajesh.

Operations continue with increased frequency and the passing on of responsibilities.
Reflections on the impact of interactions with romance and the realization of a 'role-reversal' effect, gaining insight into personal predicaments and solutions.

How to make use of fresh pigment to paint on-site. / April 16, 2017 by erwin lian

Perhaps the most useful technique by watercolor plein-air artists.

This technique allow you to complete a painting on-site without getting bugged down by details or with too many glazes. Theoretically, you can complete within 3 layers. However, apart from time constraint, there aren't any rules to why you should limit yourself to just 3 layers. Bear in mind that this method is most appropriate when you use fresh pigment from a tube..

Here's how you work the magic. By the way, I am demonstrating with just two colors. Why ? Because beginners too often have problem managing colors . If you can't even work with 2 ? Reduce it to one. There's no prize for the artists who uses most colors.

At the most fundamental level, one just need to ensure that that the correct sense of color temperature is in place. Excessive colors rarely enhance an image when the temperature shift is nothing but a chaos.

Important things to remember when painting:

Shapes + Composition (Simplification and design is key. It is literally impossible to paint everything)
Value structure / Good drawing / Chiaroscuro (extremely important for watercolor since it rely extensively on light versus dark dramatic structure )
Soft versus hard edges
Color temperature (warm versus cool) . There is no need to score accurate color. A painter merely depict a color's relationship to its surrounding. e.g does the color have more warmth (Red or orange) or cool (Green or blue) in it ?

Think about the density of tea, milk or cream to assess how thick or thin your paints are. Maximum coverage is made with the thinnest layer, mid tone and shadow mass are all connected with milk layer and details are left in for for thickest coa… — Think about the density of tea, milk or cream to assess how thick or thin your paints are. Maximum coverage is made with the thinnest layer, mid tone and shadow mass are all connected with milk layer and details are left in for for thickest coat of paint. (error - Tea layer was yellow orche and not burnt sienna as written above:)

Putting it all together: (two colors)

The technique sounds all easy but can be quite a challenge when you are on-site and overwhelmed by the gamut of colors and details that mother nature throws at you.

The truth is, no one can paint everything on the spot. A good painting isn't a good photo and how you capture the essence creates the impression that mattered the most. (Paint language)
A few things to note:

Things will change.
You are painting an illusion and it doesn't have to include everything.
A quick thumbnail study is exceptionally useful for a complicated scene. I often make the mistake of painting without preparation, only to regret after I lay down the first wash.
Resolve your value structure before you paint. Changes in light cannot affect your vision if you have this road map. Its also a whole lot easier to focus on other aspects of painting if you have this.

An illustration of how this works. Putting it together for a scene . Note that you want to cover as much as possible with the first lay-in wash. — An illustration of how this works. Putting it together for a scene . Note that you want to cover as much as possible with the first lay-in wash.

The watercolor clock as illustrated here and taught by the famous water colorist Joseph Zbukvic. On this clock, he documented the way to assess pigment's consistency versus the result on the various degree of wetness on the paper. His book however i… — The watercolor clock as illustrated here and taught by the famous water colorist Joseph Zbukvic. On this clock, he documented the way to assess pigment's consistency versus the result on the various degree of wetness on the paper. His book however is out-of-print but this remained a crucial technique for anyone trying to paint on-sight.

In Transit 2016 / January 2, 2017 by erwin lian

In-Transit

Sep 01, 2016.

During this trip, I reconnected with numerous friends and organized a show at Curt’s newly opened tattoo shop, Enso Tattoo. My journey hit a snag when my flight was delayed in Hong Kong due to adverse weather conditions. Upon reaching Dallas, I missed my connecting flight to Ohio. Fortunately, there was another flight scheduled for CMH, and I arrived around 2 am on Thursday night.

Jet lag gripped me, and sleep eluded me as I worked with Curt to set up my show until midnight on Friday. Despite feeling completely exhausted on Friday night, the In-Transit exhibition was slated to open on Saturday, and we had to frame and hang 29 paintings.

Eventually we succeeded and put everything up right before Gallery Hop !

A pleasant surprise awaited me when one of my backers, Cassandra from The Perfect Sketchbook, informed her mother about my show on Saturday. Interestingly, Cassandra, now residing in France, originally hailed from Columbus, Ohio. Her mother purchased a painting before the official opening of the show.

The Herculean task of framing and displaying 29 paintings within 48 hours wouldn't have been possible without the invaluable assistance of my incredible friends. Special thanks go to Daniel Painter (Decal), Curt Everitte (everything), Joe Galati (Cutting Matts and frames), and Nathaniel Wood (Cutting Mattes and frame).

Taught a watercolor workshop to a bunch of Tattoo Artists and Enthusiast at Enso Tatto

The show successfully opened on Gallery Hop night, despite moderate attendance due to an Ohio State game. Nevertheless, I was thrilled to reconnect with many college friends and professors, experiencing a genuine sense of belonging. Realizing I hadn't done much to promote the show, Professor Hiroshi suggested I email the Columbus Dispatch. To my surprise, they responded, featuring a full front-page article in the life section, resulting in additional sales.

Thanks to Charlotte, I had the opportunity to address an audience of about 100 students at The Columbus College of Art in the Cazani auditorium. There's so much I want to express, but the most significant aspect is not my paintings or crowdfunding projects but the incredible friends in America who supported me through college and life; they are my family. Special thanks to Dr. Chilin Yu for her wisdom and the Yue family and CaregiverUSA for providing shelter in Columbus, Ohio.

I didn't have much advertising. So we printed a bunch of cards and we just try to plaster as much as possible, wherever possible. (bad idea).. Here's one at CCAD. I didn't get approval because I was out of time. — With minimal advertising, we printed cards and attempted to spread the word as much as possible, including a spontaneous placement at CCAD without approval due to time constraints—a decision that proved to be less than ideal.

The Yue Family provided shelter and cycling ! Thank you

Then one day, I just rent a car and gun it all the way to Canada to see this.

Went Plein-air with Curt at The Hocking Hills. Listened to radiolab on the roads.

Cleveland Musuem of Art is one hell of an impressive musuem

Met a gentlemen who works for a major eCommerce store when I was sketching here. He offered some freelance work.

After Ohio, I flew to California for a two-week visit, catching up with West Coast friends and finally experiencing Yosemite. My gratitude goes to Youn and Hao for making it possible, and special thanks to Janice and Pencil Cafe for convincing me to visit. I cherish you all.