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Thread: Another Classical Atelier Thread
October 5th, 2008 #27
The first round of crits if at 9am, and I usually get to the school a little while before that. Second round of crits is 1pm. But you can get the teachers' help anytime you need it, until 4pm. Then you can stay and keep drawing until 8pm. Sometimes there is some extra activities, like figure drawing night on Thursdays, and the occasional film evening. We work Monday-Friday.
Hide this ad by registering as a memberOctober 5th, 2008 #28
The Belvedere torso is a REALLY hard Bargue plate to copy. It seems to be going well. I will give you one suggestion though - if your teachers will allow it, try putting in mid tones really lightly. Don't worry about the different levels of value or all the curves- just lay in one midtone value where you see major shadows in simplified blocky ways - and it will make shapes to reference off of and thus improve the accuracy of everything. Beautiful work once again - keep it coming!
October 6th, 2008 #29
Yeah, when I was finishing my second Bargue, the leg, my teacher told me to get a more challenging one as my next. And I did. The Belvedere is crazy. But I'm going to make to PERFECT. I'm just going to make some more corrections, and then transfer the lines to another piece of paper, because I've roughed this one up pretty badly, then it'll be time for those sweet greytones...
October 12th, 2008 #30
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Damn Serpian, sick progress already! I will look into Stockholm Atelier for next or next-next year.. apparently they want you to be over 18..
keep it up...i'm very impressed by how far you've got in just a few weeks of time. gooo!
October 12th, 2008 #31Registered User
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I am amazed how well the Bargue drawing course has been received.
How are they presented at the atelier in Stockholm? Are the plates enlarged or is it up to the student?
October 13th, 2008 #32
The Bargue torso looks really tough! It'll be exciting to see how that one progresses! Solis hälsar...
October 13th, 2008 #33
Graydon: We have photocopied and laminated reproductions of the plates from the book, I don't know whether they are full size or not, but I've seen some of the same plates in different sizes. On the Beldevere WIP, for example, you can see my piece of paper to the left, that's an A4. It's the biggest Bargue of the three. After this one I'm doing a charcoal Bargue, and those copies are usually larger.
October 14th, 2008 #34
Hi, Serpian! I'm glad I stumbled upon this thread of yours! I think you're on your way of becoming an amazing artist!
I'd like to comment on your discussion about sight size and comparative measuring. I prefer using the comparative method for drawing simply because it is a very natural process. There's no need for a set-up. Just grab your pencil and paper and start drawing. However, I've done a couple of Bargues using sight-size and I have to say that I've learned quite a few things about drawing by practicing that method.
I do agree with your instructor's opinions about both methods. Comparative is really difficult though. The hardest part for me is getting those initial measurements down on paper. I suppose those measurements are not totally meant to be 100% accurate in the beginning. I think they're more like good estimates that give you good starting points to eventually arrive at an accurate depiction of the subject.
Anyway, keep up the great work!
October 16th, 2008 #35
Very insightful thread Serpian, filled with tons of great bits of knowledge and nice to see you progress.
Never knew about the sight-seeing and comparative methods, but I kinda grasp those concepts a while ago, while doing life drawings. I agree that the comparative method is a bit harder, but it help me a lot in getting better at proportions. One exercise that push me in doing it was when my instructor push me in doing life drawing on bigger paper, from my 24 inch long papers to a 32. It helped so much.
Those memory exercises sound pretty good and for sure, will try the out. Thanks for sharing this info and look forward to see how you progress.
October 19th, 2008 #36
Hi there Serpian.
Student from Florence Academy of Art, Gothenburg here.
Cool to see a member from conceptart inrolled at atelier stockholm.
So how is the school? read about the workshop you had with the guy from weta workshop. Sounded like a intresting lecture.
The bargues are looking great. Finsihed my bargues last trimester. Just got started on my first cast.
October 19th, 2008 #37
Dizon and Maestro Andres: I think the Bargues is as close as we get to sight-size, and even then our teacher encourages us to measure less and compare more, so I can't really add much to that discussion, as I haven't experienced sight-size myself. It would be interesting to try it out though, so I could see the differences first hand.
Pencilator: Hi there! The school is great, very challenging and a nice atmosphere. I still feel like I should be doing a lot on my own though, if I want to really progress. And I'm gonna do that.. Tomorrow? It'd be nice for our schools to meet up sometimes and, I don't know, do stuff together. By the way, here is a link to a classmate of mine who's on ca.org, and here is the thread of a former student at that school.
This Friday we visited the studio museum of Swedish painter Julius Kronberg, in Skansen.
This is from his studio, I stood right in front of that painting, and it's huge! The second row of small frames to the right, from the bottom, is about eye level... Here is another picture from inside the studio.
And just a small update on my Bargue... After a long period of getting bogged down, I've finally gone on to flat values - still going very carefully and always ready to erase where need be.
People usually say that in order to draw something accurately, you can't just draw a foot, or a leg, but see the abstract shapes that build it up, and draw those. A good way to spot the errors in your abstract shapes is to try to find recognizable shapes in them, and compare those to the original. We often find different animals or figures. Here, for example is:
1. An eagle head.
2. A rabbit or sphinx
3. A diving whale or bird
4. A Christmas tree or Jabba the Hutt (you decide, folks!)
5. A weird heart or a weird pacman shape
Once you've located these shapes in the original and your drawing (and stopped laughing at them), you can use the flip-book method of spotting errors. You know how you can draw small stick figures on the pages of a book and then flip through it to get an animation? You can do this here as well, but instead of flipping pages, you look quickly from one shape to it's original, and if there's a difference, you'll see it move around. It really works! You should focus at a small shape or angle to notice the dancing, and it should look something like this:
See you later!
October 19th, 2008 #38
October 21st, 2008 #39
Thankd for the kind words in y sketchbook. Guess we need to hook up and sketch next time I come to Stockholm.
You do know both of our schools are going to be in the same exhibition here in Gothenburg next year, together with a few artist from Norway, Odd Nerdrums group.
By the way it's cool that you take time to show the way of seeing shapes to everyone else here on the forum, thumbs up.