Perspective Drawing with Tom Quinn
Six Tuesdays, September 9-October 14, 1-3 p.m.
$168
Perspective is to art what grammar is to writing. It helps us place objects in space to achieve that vital third dimension, depth. With rulers, protractors, and compasses we are able to draw squares, triangles, and circles in one-point, two-point and three-point, eventually moving on to shadows and reflections.
Week one: Lecture and introduction to one-point perspective using shoeboxes.
Week two: Indefinite and definite divisions. House and tile floor in one-point.
Week three: Introduction to the cone of vision, and how to draw a perfect cube in one-point. Introduction to two-point.
Week four: Chessboard and perfect cube in two-point. How to rotate a cube.
Week five: Drawing objects of similar sizes in different positions. Introduction to three-point.
Week six: Shadows and reflections of cubes in one- and two-point.
Meet Your Instructor
Tom Quinn
Originally from Great Falls, Montana, Tom Quinn grew up surrounded by art — mostly nostalgic celebrations of the Old West by the likes of Charles M. Russell and Fredrick Remington. He found there was more to art by the time he attended Gonzaga University and spent his junior year in Florence, the home of Michelangelo and Botticelli. There he became enamored of the serene beauty of Renaissance painting. After receiving a degree in art history, he went to the Art Institute of Seattle to pursue a career as an illustrator. At the time– the mid-eighties — there was a whole school of illustrators whose work was semi-primitive and had an ironic twist. The style died out by the nineties but Quinn considers it well worth reviving. Now living in Spokane, Quinn has done several murals in addition to his easel painting, his illustrated four books and several magazine articles, draws caricatures at parties and conventions, and teaches drawing and painting at the Spokane Art School, Corbin Art Center and the Institute for Extended Learning. His work has been exhibited in galleries in Spokane, Seattle, and Portland. He works mostly in acrylic and oil with hard edges, intense colors, and finicky detail. He likes to show what’s absurd but not impossible, to take the ordinary out of context, and to turn the familiar into the strange.
