Oruhito's Thread

[Oruhito]

EDIT: Will update soon!

Thought I'd share with you my stuff. As always constructive criticism is welcome. I apologize for the crappy photos.

cheers!

-Alexander

Cast drawing of Dying Slave, Charcoal on Fabriano. (Three months..ACK!)
(EDIT: picture deleted - newly photographed pic in this thread)

Zara (three hour pose) Oil on canvas
http://farm4.static.flickr.com/3187/3075953990_609c5d4986.jpg

There's a bunch of other stuff, but it's really hard to take decent photos. More to come.

[Oruhito]

o.k, seriously guys, (not that I'm complaining) but it's been like over a week. Feel free to write anything: Critiques are welcome.

[hemP]

Wow, I can't believe no one has posted yet. I think your studies are excellent and show that you have potential to be truly great, especially since you are only sixteen. You seem to be very focused. Do you have any idea as to specifically what atelier you would like to attend? Please post more of your work, and if it's possible try to get them uploaded at a higher resolution. It's a little bit hard to fully appreciate your work at the moment due to the quality of the photographs.

[*ViRuS*]

lookin good. there's so much art on CA that most people don't comment for a while in a thread, rather just look.
your about 10x better than i was when i was 16. your off to a great start. the drawings look great, and the oil studies are great starting points for longer classical works. seems like you have a nice understanding of the block in stage, and a good eye for values. keep it up. =)

[Oruhito]

Thank you both! I never would of thought I'd get a response :)

I don't have a specific idea of an atelier I want to go to because I'm rethinking it. Between the classical training I have now plus the education I hope to get in college I think it may be unnecessary extra training: which is not to say that it wouldn't be reinforcing good things but I'd probably only get half out of the experience. I think what i want to do is apply for a specific year or two as opposed to doing the full program.

I apologize for the previous photos, but there's good news: I got a new amazing Nikon D-80 so any new photos should be crystal clear.

Can't upload much now: updates to come...

"I'm High Enough From All the Waiting" Graphite on paper.

http://farm3.static.flickr.com/2523/4017758146_e866d8d6a6.jpg

[hemP]

very cool man, I'd like to see some of your sketches or figure drawings/gestures if you have any

[Oruhito]

Hey, I haven't update this thing in forever. Thought I'd share some studies and finished works I've photographed recently. Oh and here's that old cast drawing rephotographed - that original one looks like shit!

(In all seriousness, this is actually what the cast looked like - I swear that this is an accurate likeness. The thing was oddly lit, and had been sitting in some storage room for decades before my teacher found it and tried taking off all the caked on sludge!)

http://farm4.static.flickr.com/3558/3598561411_a140e80708_o.jpg

Now I just finished a cast study of the laocoon. This is an in progress shot, but I'll be sure to post this finished piece soon (in the process of being framed)

http://farm4.static.flickr.com/3314/3598569257_fc114f19ae_o.jpg

I couldn't resist. This is a reproduction of a Tony Ryder drawing I saw in his figure drawing book. Haven't worked on it in a while but thought I'd share it since I thought it looked o.k.

http://farm3.static.flickr.com/2480/3848781851_0942e8323b.jpg

And here's a finished drawing of mine (Well... almost finished. I want to continue modeling certain parts of the figure and erasing certain parts)

Fade Revisited
http://farm3.static.flickr.com/2435/3848781303_c9b26bed0a.jpg

[The Pariano]

For 16, you are a very talented kid.
However, the type of drawing you are doing relies solely on duplicating the appearance of light hitting the figure. You have gained impeccable rendering skills, but I can see that your figures fail without knowledge or practice of actually drawing forms, drawing inside and out, dramatizing values to make the forms more readable etc. Without this, you are completely lost without something in front of you.
That said, you make an artist that is two years older than you quite jealous of your abilities so far. Combining your rendering talents with form drawing( I don't know if that's what it should be called) is a deadly combo that will allow you to perfectly replicate what you see, as well as allow you to draw from your imagination with confidence.

[Oruhito]

thank you very much! I completely understand what you're saying and where you're coming from. In fact that was a concern I had that I brought up with my teacher. As a result I took a figure drawing course with painter Paul Rahilly who was SUPER form based. I did a lot of Bridgman based stuff and drew very sculpturally. I learned a shit load! Not to be defensive but I can draw and think very three dimensionally if I want. I'll have to upload some figure sketches for you :-P The portrait of my sister probably gave the impression of having that dependency - I do however paint portraits with very little contrasting lighting, relying completely on hue and chroma shifts to describe the form accurately. Thanks for stopping by! Please come back :)

[Oruhito]

Here are a few recent sketches from my pad showing some value based work and some more sculptural stuff. As always "crit the shit". My apologies for the crappy scans.

An amazing nude by sargent as observed at the MFA. I didn't really like him in my youth but now I go almost everyweekend to pay homage to an artistic genius.

http://farm4.static.flickr.com/3511/3853860723_9a8c1b55c4_o.png


Gesture/value sketch of "El Jaleo" by Sargent. This was one of those serendipitous drawing moments, where for ten minutes I was possessed by some weird external source and suddenly I was done. It may not be a great drawing but it has soul and that is all that matters to me.

http://farm3.static.flickr.com/2675/3853860657_34592739a9_o.png

Hey Pariano, here are some ol' bridgman based figures I just talked about. They're still slightly linear in nature but hopefully it shows I can think three dimensionally. This particular sketch is old though... i have to find some recent figure sketches :-/
(A bouguereau copy in here just for larks. Forgot the name, but the female figure is intensely emotional. I had to attempt to copy that feeling)

http://farm4.static.flickr.com/3438/3854649882_e2102d65a7_o.png

Oh and btw, does anyone know how to flip these pics? Sorry I'm such a noob.

[Oruhito]

Hey guys, just a small update of some small things I've been doing. Also an old cast drawing I finished a few months ago (I really hate it so maybe you guys can help me figure out why!)

Cast Drawing of Voltaire's Hand
Charcoal and Chalk on Mi-Teintes

http://farm4.static.flickr.com/3547/3546257983_6c3e49de7c_o.png

Colour Study - yoga block, red ball, silver cup
Oil on cheap canvas panel
http://farm3.static.flickr.com/2460/3868529395_9d1583a5f2.jpg

[The Pariano]

For the cast study- I don't know why you'd hate it. It may or may not be the photo but all the edges seem relatively soft- and you can see some haphazard strokes in the cast shadow. I can't comment on accuracy but the values are pretty solid.

[Oruhito]

As you can see, ever since I was a kid I had an obsession with accuracy, and I got really depressed on this drawing because I thought I failed as a realist draftsmen. The haphazard strokes of the thumb area was a result of accidentally rubbing against it, which then led to my anger of attacking it with charcoal... yea I sorta' get pissed when things don't go right, I've ripped a lot drawings lol

Anyway, I think I hate it because my rendering skills epically failed on making a convincing representation of the wrinkly old skin. They look like blocky values to me :/
But yea, there are a lot of edges that could sharpen up.

[Jonas Heirwegh]

Very nice stuff dude, especially for your age.

[Oruhito]

For some reason my last post's pictures didn't show up hmmm :-/

Anyway, haven't updated in bit. Here are two photos from my new sketchbook I made (My colour theory teacher happens to know bookbinding so we made one, one day lol, yea we're basically freaks)

Pandora's Box - Graphite and Chalk on toned paper. After a painting by my teacher and mentor Jason Polins.

http://farm3.static.flickr.com/2666/4135005842_074ed018d3.jpg

Self Portrait in Limbo
Graphite and white chalk on toned paper

http://farm4.static.flickr.com/3499/3984367911_8c6c2f8239.jpg

[zanpakatou]

I think you would see a significant benefit from finishing an oil. Your work is great, but you'll never master painting if you don't finish one.

[Oruhito]

Hey there zanpakatou, thanks for stopping by. I do finish paintings, I just never photograph them lol XD I recently finished a 40 hour painting with my mentor about a month ago, and I'm in the process of making another finished painting. Unfortunately I don't have the time as of right now to fully dedicate myself to multiple long term projects. However I completely agree with what you say. Come the summer time, I'm starting several long term works. Here is the new painting I started -

http://farm3.static.flickr.com/2579/4176918867_46b966569a.jpg

Haven't updated in a while so here are a few things :)
Here is the Cast drawing from last year, rephotographed. I realize I never put a finished pic up. I'm struggling with photographing this dude - I stupidly used a softer paper for this drawing and no matter how I shoot it, the camera picks up every god damn grain. tips anyone? I swear it doesn't look nearly this crappy in real life.

http://farm3.static.flickr.com/2656/4024129830_9d346dcfa1.jpg

And here's a quick colour study of a Nelson Shanks Demo painting I copied. Oil on Canvas panel.

http://farm5.static.flickr.com/4067/4241703388_a7fe447c36.jpg

[JeffX99]

Hey man - I saw you pop up in another thread and thought I'd check out your stuff. Really nice! You're very fortunate to be able to attend a school and study as you have been - keep at it and I imagine you'll be a household name some day.

I'm curious if you have specific goals or areas of interest yet? Or are you pretty much in a fundamental learning mode? You mentioned Sargent, one of my favorites, any other artists you really dig?

Looking forward to more!

[Oruhito]

Hey man - I saw you pop up in another thread and thought I'd check out your stuff. Really nice! You're very fortunate to be able to attend a school and study as you have been - keep at it and I imagine you'll be a household name some day.

I'm curious if you have specific goals or areas of interest yet? Or are you pretty much in a fundamental learning mode? You mentioned Sargent, one of my favorites, any other artists you really dig?

Looking forward to more!

hey there Jeff! Thanks, I've seen you in other threads - you really know your stuff! Thanks for stopping by.

yea, I'm very fortunate to be home-schooled, and have all the artistic opportunities I have, but it didn't get there overnight: I've fought the entire education system since kindergarden lol ;) Unfortunately, I'm pretty much in a fundamental 'learning mode' (perfect wording on your part btw.) Fortunately, lately I've had some time and opportunities to find a personal direction in my work.

To answer your question, I have a deep appreciation of all the old masters for their technique, vision etc. Among my favorite of them are Sargent, Rembrandt, Vermeer, etc. However my favorite artists include, ,Jenny Saville, Michael Borremans, Egon Schiele, and Antonio Lopez Garcia etc,
But I consider Rothko, Goldsworthy major influences.

[JeffX99]

Hey Thanks Oruhito! I'll check out some of those artists you mentioned - I'm familiar with Schiele of course and Rothko, Goldsworthy. Interesting, in some ways Rothko and Goldsworthy are almost polar opposites but in another way they are very similar. I checked out you mentor too - great work. I'm writing up an article for my blog on my influences as well - I'll let you know when I get it posted. Like I said, you're off to a great start - looking forward to seeing where you take it!

[Oruhito]

hey everybody. Thought I'd give a brief update.
Here's a small colour study/drapery study I did the other night. About an hour in or so, I asked myself, "This seems alright. Should I stop?" And then the tape holding up the perwinkle fleece fell off lol XD I took it at as an omen and left it at that haha

Oil on canvas

http://farm3.static.flickr.com/2680/4337887855_f1afd97ed9.jpg

[Oruhito]

Just dug up an old still life sketch. Oil on canvas mounted on panel (I'm leaning towards working on rigid surfaces now. Idk why, but I just like it :)
It was fun pushing the illusion of the green plastic cup - it's transparencies and opacities were devilishly tricky. Everything else was relatively easy considering they're such chromatic objects. I should've modeled the cast more though - edges are lil' too sharp :/

Plastic Cup, Cast of David's Mouth, and Yellow Lacrosse ball.
My artsy alternative title is, "Don't spill the beans" Pathetic I know lol

http://farm3.static.flickr.com/2791/4163509487_1e48d25f77.jpg

My long term still life is developing. I'll take an update pic soon. I'm going to my teacher's studio tomorrow to put more work into it. It's approaching the thirty hour mark. Get this baby done!
Oh and btw, I'm a complete noob, but does anyone know how to put a picture/icon next to the title of their thread? I can't for the life of me figure it out. Should probably paint less and get out more ;)

[Oruhito]

Masoume I don't know what you're asking. You can't see the images? I can see them fine. Anyone else not see them? maybe my links aren't working or something...

[wasndas]

Don't worry, I can see them.
I'm deeply impressed by your skill, especially for your age.
I don't have any valuable advice for you. You seem to be very good at copying Bargue plates and rendering. It's hard to judge your still life painting since the angle off.
Maybe now that you're so good at representing what you see, it might be time to start to learn how to bend reality in order to increase the desired effect in your paintings.
But that's just an old fart with no talent talking.

Keep doing what you're doing, don't lose your passion, and eventually you'll become a great painter.

[Oruhito]

Thanks Wasndas! Really appreciate the comments. There aren't any Bargue plates in here - I'm glad that you guess I'm good at them though :P (Haven't done one of those in ages. I'll have to find some old pieces around and photograph them.) I totally agree with what you're saying about 'bending' your reality. On the current still life (will get a good photo soon!) I'm learning about the limit of paint (in regards to pigment) and how I have to really push the values darker than I previously thought to get the maximal value range and highlights. One must exaggerate nature to mimic nature. Ironically, realism is so much more about abstraction and interpretation than most people think - it's a lesson I am continually fascinated by. Thanks for your input!!!

[Coyan]

Hey. Great studies. It is clear that you have tons of potential.

Your colours and manipulation of temperature in your oil studies looks very strong, i havn't seen your mentors work but I'm guessing this is his area of specialty? What bugs me in pretty much all your pieces is the values. You pretty much nailed it in your last post when you talked about pushing the values darker and exaggerating nature. This is exactly what must be done. From what I can tell you need to unify your lights and darks a little more, pushing the darks darker making the lights lighter. What you will discover is that you are missing the dark half tones that occur right when you slip out of the shadow, making them too light, and thus breaking the illusion of the value hierarchy that we see in nature. Also the mid tone transitions are lacking development making the forms look very box like and inorganic, probably due to the unorganized state of the extreme lights and darks leading to a shortage of values to render the inbetween stuff. Simplifying the light lights and the dark darks will give you more room to render all the forms in the middle, where all the information is kept.

There are 2 things that you can do which would in my opinion take your work to the next level, that is to do value studies of master paintings and see just how dark those dark half tones should go. and then squint ! Paint(preferably draw first) your values in the same relationships as to how you see them when you squint, you will notice that the majority of your dark halftones get grouped and end up about as dark as the shadow value. You will also see that you have a tendency to over exaggerate reflected lights in shadows. Once you have the values down whilst squinting, your payoff will be to be able to open your eyes and develop all the intricate details you can see whilst still maintaining the unity of the whole.

Hope this is of some help. Take care

[Oruhito]

Hey Coyan, thanks for stopping by!

Thanks very much. Yea, my teacher's expertise is definitely in his manipulation of temperature, chroma and subtle hue shifts. Yea I totally get what you're saying about the values. Those dark lights are what I fail to extend or include at all (in my defense however, it's the harsh lighting conditions that create lack of midtones. I usually do that in my still life because of my interest in intense chroma so I use reallly bright light ergo sharp shadows.) But yes I see what you're saying and it's definitely something I will continue to work on. Thanks!

I will definitely do some value studies (always go to the masterworks! they're such great teachers!) Thanks for the advice - you've really opened my eyes (no pun intended) to those halftones. I have to stop grouping them with darks >.< It was great help thanks so much!!

EDIT: I did a value study of a titian last week in gouache - I'll upload it once I photograph it. I think it helped significantly. Thanks again Coyan!

Also, Getting closer to finish on my still life. Not the best photo in the world, (it's flipped mirror image btw. Did it out of curiosity of how it would look.

http://farm5.static.flickr.com/4050/4451391068_7b23c58d1f.jpg

No need to crit this one - I'm fully aware of all the work I need to do XD (got a crit from my teacher and a friend a couple days ago.) Today I'm gonna go in and really work on getting the wood grain to high level of finish. gonna adjust edges on wine bottle, lighten blue foreground near cast to 'ground it', develop vase transparencies more (also solidify the vase itself) and then think of how I'm gonna attack that fucking flower. lol push the backdrop away from cast, work on overall depth issues, smooth out some transitions on cast and pretty much attack everything :P Too bad the photo kinda sucks because the colour in the shadows of the bench is really a strong point. Oh well.. to be continued!

[Marine_Blue]

Hey Oruhito. Thanks again for your help on my painting. I really like all your stuff, you seem to be developing very will for a young artist, I wish I had your focus at that age, not to mention the teachers.

Looking forward to your progress in this last painting and in general.

Coyan: Great advice!!

James.

[Isadore]

great works i'm jealous hahaha but i'm inspired thx

[Oruhito]

Marine_Blue, and Isadore, thanks guys! I appreciate it.

Iana
Oil on Canvas, 16" x 18" , 1.5 hours

http://farm5.static.flickr.com/4016/4543970978_26ca23aa11.jpg

To make my schedule even more hectic, I started to take the figure class at my mentor's studio in the morning (alongside my other studies to total an 8 hour day T_T )

There will be one pose for the entire 12 week semester. Having been away from the figure for a while, I'll be reintroducing myself to the basic fundamentals: each week, I'll do a completely new study, painting the same pose from a different angle, doing one painting for the entire 3 hour class, OR some days, doing several angles and wiping the figure off the canvas like a drill practice. (for example doing a 15 or 20 minute sketch, wiping it off, moving to a new spot and repeating for the rest of the session) This condensed practice time forces you to focus on strong drawing skills, capturing the big shapes of the figure.

I'll be sticking only to open and closed grisailles as to focus on perfecting a limited value range. All great practice before similar boot camp at Studio Incamminati this summer! The pose was changed halfway during the class to the pose you see in the painting now, so I'll finish it up next week since it was rushed. (fix the funky clavicle, reorganize values etc.)

[Oruhito]

Updates!

Iana, Day 2

http://farm5.static.flickr.com/4002/4551301214_3d38afa9ba.jpg

Sophia: An Anthology, graphite on paper, a study after an original painting by Nelson Shanks

http://farm5.static.flickr.com/4002/4551324016_b8114af7a7_b.jpg

Priscilla, graphite on paper, a study after an original painting by Nelson Shanks. Here I tried to work on making subtle value changes by 'meshing' together very articulate lines of hatches in 'washes.'

http://farm5.static.flickr.com/4052/4550686047_1a1823987c.jpg

[soros]

Great drawings! Thanks for sharing!

[Oruhito]

Thanks Soros :)

I just finished up my 40-something hour painting last weekend. I took a quick crappy photo just to update you with. When I have it professionally photographed I'll post a new picture. There's a shit load I learned (mostly colour) and I'm pretty happy with it. It's not perfect, but I learned so much from it, which is the point of a study, so in my view, mission accomplished.

http://farm5.static.flickr.com/4070/4363900594_04bc2d7a31.jpg

Also, to all of you in the Boston area, my teacher is having an Open Studios event Saturday May 1st and 2nd, 12:00 - 6:00 p.m. Come check out the space, purchase work, sign up for classes or inquire about commission services. You can become a fan on facebook and find all the info there:

Here's his fan page....

http://www.facebook.com/pages/Jason-Polins/75672644588

And here's the details of the event....
http://www.facebook.com/event.php?eid=108343102540064&ref=mf

Please join us if you can!!!

[Oruhito]

It's been a while, so I thought I'd give yall a little something before I post in the next couple of days with new pieces. My new semester started about a week ago so I have a few new exciting projects going on. Until then, here's a more conceptual drawing I've done that I hope I can do a series of during the summer. Graphite on Bristol. 8"x 8"

http://farm3.static.flickr.com/2663/4172303678_f9f0f78819_o.png

[Marine_Blue]

http://farm5.static.flickr.com/4070/4363900594_04bc2d7a31.jpg

This is a great job. I really like how you have rendered the colour of the rose and table as a reflective light on the cast.

Couple of questions for you if you don't mind. firstly, do you plan your colour scheme. Secondly, do you use chromatic greys (complimentary colours) for the darks, or do you just push toward a cooler shade. Thirdly and finally, do you paint wet on wet?

Thanks

James.M

[Zarahn Southon]

Great work...You've go talent... its going to be interesting seeing how you progress

[Oruhito]

Thanks guys :)

Marine Blue: I'm not sure what you mean by 'planning a colour scheme.' The still life was set up by my teacher so I had no say in what colours were used. And yes, I used chromatic grays: it would be impossible to mix neutrals without using some form of complimentary mixing. And no, I didn't work wet into wet on this particularly piece (only because it dried every time I came back to it each week. If I had the opportunity to work on it every day consecutively I would be working wet into wet.)

Here's some new stuff!

This was a cast drawing demo done for a friend of mine who's taking lessons from me.

David's Eye, Charcoal and white chalk on toned paper,

http://farm5.static.flickr.com/4021/4717902544_8348fdf353.jpg

Here's a sketch of my friend Lauren. Only got 2 hours in so I didn't have time to do her hair or refine anything interesting. Oh well. hopefully I can get her in the studio one more time. Oil on Canavas

http://farm5.static.flickr.com/4018/4717903034_4e3feb75be.jpg

And lastly, here's a longish pose (15 hours) I did at the Grand Central Academy of Art under Jon de Martin for his figurative intensive workshop! It was my first time using charcoal pencils so it isn't all that polished but I think it has a nice sense of form and a good likeness.

http://farm5.static.flickr.com/4065/4717260055_317eb789f1.jpg

[kevinwueste]

Great figure! Love the still life too! I'll be at GCA in July for 2 weeks - looking fwd to it too!

[Raileyh]

Really solid education. Good progress on the still life painting. Are you sight sizing the figure? It's great that you're also practicing Bridgman in your sketchbook - it's a nice balance. Keep it up!

-H

[Oruhito]

Kevinwueste: Thanks! :) Have fun at GCA. Too bad we just missed each other! You have some awesome work. Would've like to have met.

Raileyh: Thanks Raileyh! And NO I did not sight size the figure. I won't get on a radical tangent, but I'm very much against the sight size method, and have been fervently trained using comparative measuring. And yea, Bridgman is awesome. That's actually why I took the course with Jon de Martin - He draws very sculpturally in the vein of old american painters, and the early Italian masters. You need to be able to have that skill alongside more painterly skills to have a good balance. GCA for example does some amazing drawings, but I know students there that if asked to do a 5 minute pose, couldn't draw a circle or anything but a block in for that matter. While that's great and certainly has its merits, it definitely needs to be balanced with strong draftsmanship skills. I'm glad you understand! I definitely agree. I'll have to post my sketches from the class soon. Thanks for stopping by.

[prsnsweeney]

wow very nice works im impressed i wish i was gettin the same training as you in the clasic realm of art what sort of method do you use when your doing your figure work ?

[mattlinz]

Great stuff! I like the direction the painting of your friend is going. And the figure is very nice.

[JS Neo]

Great pictures... U are certainly getting great training. Is the figure done on toned paper? Makes me want to try it out! Keep it up. U are doing great.

[bjoern3000]

The last one unfortunately doesn´t show - "The photo is currently unavailable"
The others are great. The still life with the torso and the flower has great atmosphere.

[Pamz1e]

You have so much energy right now! Its probably because you started producing art so young you are developing your identity in art very strongly. I am excited to see your progression =)