Basics of Drawing
Old master techniques and materials have been the main inspiration and drive in Hamid Zavareei’s pursuit of art education.
Through decades of independent research and scholarship he has built up a body of knowledge and experience accessible through investigation and research into the available resources in the vast field of conservation as well as historical documents and transcripts passed down from ancient periods to middle ages and renaissance and baroque period.
The focus of his research has been centered on materials and techniques of early renaissance through Baroque era through extensive study and reconstruction of details of master pieces based on documented research within the conservation institutions throughout Europe and the United States
The scope of his research encompasses various materials including oil, watercolor, encaustic, egg tempera, acrylic and more recently fresco, within different historical contexts following the evolution of techniques throughout the last two thousand years.
Hamid is self taught and has drawn and painted since childhood by studying the old masters, from early Renaissance to Baroque and he has taught the old master’s techniques for more than a decade. He extends the knowledge of the old techniques and materials to contemporary application to create work that brings the old and the new together in a unique format.
Hamid has shown his work through various venues throughout the United States and abroad including residency, awards and reviews.
Awards & Residency
1998 Lantern of the East Art Camp Residency, Pyong Taek, Korea
1995 Honorable Mention, Scene/Unseen, EMNU, NM
Honorable Mention, Strictly Sculpture, OCCCA, Santa Ana, CA
Honorable Mention, The Master’s Studio, Pasadena, CA
1993 First place (cash award), Irvine Fine Art Center, Irvine, CA
Distinctive Merit Juror Award, San Diego Art Museum, CA
2001 Small can be beautiful, Tacoma Reporter, Lisa Gutner, Oct 18-24
1996 Exhibit “Use of the Surreal goes easy on the senses”, L.A. Times, Josef Woodard, Feb 22
“Ins and Outs of Artist’s varied works,” L.A. Times, Josef Woodard, Feb 1
“Area’s Talent Promises Diverse Art Landscape for the coming year,” L.A. Times,
Josef Woodard, Jan 4
“Painter evokes mystical images,” Grants Pass Daily Courier, Edith Decker, May 2
“Strictly Contemporary,” OC Weekly, Daniella Walsh, Oct 20-26
“Sampler Substitutes Surreal for Sentiment,” L.A. Times, Josef Woodard, Dec 21
“The Mystical Visions of Hamid Zavareei,” Feature Juxtapoz Art Magazine,
Premiere issue, winter 1994
Gage Academy of Art, 2001-present
Kirkland Art Center, 2006-present
Seattle Pacific University, 2010-11
Gage Capitol Hill
- One pad of 18″ x 24″ newsprint paper
- One pad of 11”x14” or larger Bristol paper (Strathmore 400 Series Bristol Board Pads would be good)
- Faber-Castell Drawing set of 3; https://www.dickblick.com/items/20450-9109/#description
- Staedtler Mars Lumograph Charcoal Pencil Set; https://www.dickblick.com/products/staedtler-mars-lumograph-charcoal-pencil-sets/
- Winsor & Newton Vine Charcoal Pack; https://www.dickblick.com/items/22989-1003/
- General’s Wide Compressed Graphite Sticks; https://www.dickblick.com/items/20480-2191/
- Faber-Castell sanguin Crayon; https://www.dickblick.com/items/20209-8071/
- view finder/catcher http://www.dickblick.com/products/viewcatcher/
If you already have drawing material please bring them, otherwise you could use the list below as a guide.
The most elemental part of drawing is line – without line, contours and edges do not exist. We will start with the study of the line as countour, and progressively incorporate value and perspective to create form and space within simple compositions.