Portraits In Watercolor

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accessible through investigation and research into the available resources in the vast field of conservation as well as historical documents and transcripts passed down from ancient periods to middle ages and renaissance and baroque period.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.

Hamid Zavareei

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.

1:30-4:30 P.M.
Gage Capitol Hill
  • Paper: Watercolor Paper Block, 140lb (300gsm), not too small or too large, Cold
  • Drawing pad, pencil/charcoal – for sketches and research and studies
  • Paint:
    • Alizarin Crimson
    • Cad red hue
    • Cad yellow hue
    • Yellow ochre
    • Burnt Sienna
    • Burnt umber
    • Sap green
    • Viridian green
    • Ultramarine
    • Cobalt blue
    • Payne’s gray
    • Violet
  • Additional colors are always nice to have
  • Palette: a large one with many wells and large mixing areas, the dinky little ones don’t work
  • Brushes Flats, 1”, ½”, 3/8”, 1/4”. Rounds various sizes. This is the minimum. Additional brushes are good to have.
  • Wash brush (2 inch)
  • Container for water
  • Paper towels
  • Drawing material, pencil, eraser, sharpener
  • Container for water

Suggested books:

There are many books on the market. A couple of my favorites are:

    • The Arts of David Levine
    • Painting People in Watercolor, A Design Approach by Alex powers
    • Drawing the Human Head by Burne Hogarth
Experimenting with traditional watercolor techniques including various washes, glazes, and scumbles, you will stretch the boundaries and experiment with looser approaches and different color palettes for flesh tones. Studying from live model, you will focus on head, facial structures, and proportion and emphasize the economy of line. You will capture the essentials of the human face with simple contours, but without shading or value, allowing the watercolor to build the volume and structure of the head and face and render the values.