Robert Zeller - Nudes

[Zman]

This is my first post here. The level of technical ability is high on this site, so I wanted to share a couple of finished figure paintings. They are studies for larger paintings I will show later on this year.


http://www.robertzeller.com/Billy1.jpg

Billy, oil on linen, 19 x 30, 2005

http://robertzeller.com/Marie1.jpg

Marie, oil on linen, 19 x 30, 2005

More images, and at a higher resolution, can be seen at http://www.robertzeller.com

[E.M.GIST]

Very nicely drawn, I like the values, edges, proportions. The colors however strike me as a bit flat, meaning they look to me as if they were done from a photograph. It is fine to work from photos, but when you do you must realize that the camera tends to remove sutle color fluxuations. For instance with a blue background like in these I would expect to see more of that influence in the figure, particularly the shadows, and you will tend to have a little more ruddyness in the limbs, the joints in particular.

Even though these are studies, perhaps a cast shadow on the ground and softening the edges along the sillouette might help as well, so they do not look so cut-out.

Very nice paintings though, I would love to see some more.

[Zman]

Thanks for the reply. I do not work from photos, though I understand why people do. Sometimes, I wish I did because of cost. New York models get $20 an hour, or more. I work from the live model, usually with natural light. "Billy" was done with artificial light, around 32 hours of modeling time. The flat color may be due to the photos of the paintings, the way I lit them. I do compress the value range a somewhat when I work, so that may be contributing to the flatness you speak of. In the studies, I only show the cast shadows within the figure, and leave the background nebulous. I appreciate constuctive criticism.

[Dizon]

wonderful! Umm... Where did you study?

BTW pls post smaller images next time so I can get a grasp of the whole.:)

[Zman]

Thanks for the feedback. Sorry about the large image file. I lowered it to 300 dpi, from 900 or so. But its still too big. What's a good resolution to post in this format? I studied at a lot of places, but the main ones were the New York Academy of Art and Water Street Atelier. You can see a full resume at http://ww.robertzeller.com I checked out your sketchbook. Very cool. How big are they?

[Dizon]

Thanks for the feedback. Sorry about the large image file. I lowered it to 300 dpi, from 900 or so. But its still too big. What's a good resolution to post in this format? I studied at a lot of places, but the main ones were the New York Academy of Art and Water Street Atelier. You can see a full resume at http://ww.robertzeller.com I checked out your sketchbook. Very cool. How big are they?


Hey thanks, man. That means a lot coming from you! My sketchbook pages are only about 9x12 inches. Just regular size.

As for what image size, I'm not sure really. I'm not good with the technical stuff. Do some trial and error heh. Sorry.

I see you studied with Jacob Collins. Man, I only dream of good atelier training. For the meantime, all I'm doing is just drawing and reading some good books about the technical matters.

Anyway, I'm looking forward to your future posts. Keep it up.

[Zman]

You can get Tony Ryder's book on figure drawing. Both he and Jacob studied with Ted Seth Jacobs and teach variations on the same method. Nothing beats a couple of years of intensive atelier study. But if you can't do it for whatever reason, the information can be gotten elsewhere. Good luck.

[Dizon]

You can get Tony Ryder's book on figure drawing. Both he and Jacob studied with Ted Seth Jacobs and teach variations on the same method. Nothing beats a couple of years of intensive atelier study. But if you can't do it for whatever reason, the information can be gotten elsewhere. Good luck.


Yeah, I already read that book. Their way of drawing actually taught me how to draw. I was lost back then.

Might I ask how you set-up drawing the Laocoon torso? Were you doing this using the sight-size method? Comparative measuring? standing? sitting while your drawing board was on your lap?

THanks.

[Zman]

I set the cast on a shelf, with the shoulders at about eye level. The light is natural and is coming in from the left. I was standing about 4 to 5 feet away, using an easel. In general, I don't sight size. It is a cool method, and sets up quickly. But I prefer to control proportions on my own. Harder, but, ironically, I think it gives you more freedom.

[Dizon]

I set the cast on a shelf, with the shoulders at about eye level. The light is natural and is coming in from the left. I was standing about 4 to 5 feet away, using an easel. In general, I don't sight size. It is a cool method, and sets up quickly. But I prefer to control proportions on my own. Harder, but, ironically, I think it gives you more freedom.

What do you mean by "control proportions"? Did you mean making the drawing larger or smaller than the perceived scale?

Thank you.

[Zman]

Yes. I want to be able to make it larger or smaller than the percived scale, depending on my intentions for the drawing.

[poise]

these are really great! I like the second Figure the best. Very nice skill!! I will be waiting for thte finishe painting that you are doing these studies for. Again Great work!!

[Flynt]

Rob...er.. I mean Zman

Good to see the post. I total agree about being able to control the proportions even though it is a bit harder vs. sight size (which does have some nice advantages). It terms of the compression of value range-an important skill, I am now leaning toward expansion of value range if it that tonal range does not exist. I find compositionally it makes the piece feel better...without some very dark darks and very light lights the tones seem to have no context so that the image feels dull or washed out. Just some food for thought.

Keep it up.

[Zman]

Hi, Doug. The only thing that worries me about not compressing the range is that you risk shifting into a "copying" mode. True, it's a worthy risk if you get a good result. That's all that matters. If you are able to increase the range and still keep it conceptual (under control, etc.) then I think you move into that next level. But how to keep from copying once you get seduced by the contrast? "Feel" is important, so is the overall composition. That's the next level that didn't get discussed much back at WSA. The question remains - is it a fine line between conceptual and perceptual - and does it get blurred?