Art: Figure and Head studies in charcoal, graphite, pen and paint..

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  1. #1

    Figure and Head studies in charcoal, graphite, pen and paint..

    Time to start posting figure work here - really and not in the sketchbook area ( with a few exceptions).. most of these are from life with a few master copies thrown in ( ZM Wu, Blohkin and Glen O)!

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    Last edited by kevinwueste; August 23rd, 2009 at 12:43 AM.
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  3. #2

    Thumbs up

    I have been following your progress and admire your work immensely you have such a sensitive feel for the marks. I have given you 5 stars you deserve more.

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  4. #3

    UUUUUM

    UUUUUM, I think you do belong here.

    Glad to see you in the Fine Arts area. Please update me on your upcoming studies. I heard good things about your work from people at CAI. Your work is really consistent and sensitive - two things that are hard to achieve in figure drawing.

    Please update often if you can!
    -H

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  5. #4
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    Lovely studies, though i do see some proportional issues here and there. Looking forward to seeing this thread develop

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  6. #5
    Thanks Bill very much for the kind words! I have a LONG way to go..
    Hope - I will try ! I'm struggling with form values and casts and cores ( and the relative values of things right now.. ).. CAI - i KNEW it - a bunch of spies :-) oh yeah it's great with Mark who draws beautifully, Glen and Esmerelda there.. and THEN Greg Pro will show up and knock out some kick-@** drawing! but it's a good atmosphere.. Glen gives me no end of s.... but I deserve it, mostly!
    Andreasm - thanks - i'm sure there are proportion things with gesture drawings .. ..don't tend to have a chance to site-size in 5-20 minutes!! there's a good quote by Ingres about this which escapes me - oh well!

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  7. #6

    Rockwell's Neighbors: studies in charcoal

    new things to post soon - but here are some fun doodles ( head studies) .. thinking about shadow shapes and edges.. Rockwell's charcoals are masterful! all from photos ( not from his drawings).. freehand ( of course) on smooth newsprint. 4b charcoal pencil and wolffs carbon..

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    Last edited by kevinwueste; July 12th, 2009 at 03:07 PM.
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  8. #7
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    Gorgeous Rockwell studies, and your gestures are stunning...really looking forward to future updates here.

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  9. These are awesome true eye candy

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  10. #9
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    Kevin,

    These are beautiful Rockwell studies... Were the studies themselves originally in charcoal? And which book did you use as reference? I could not recognize it from the picture.

    Thanks!
    Brenno.

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  11. #10
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    awesome Kevin! I love the way you work with charcoal

    "We are the music makers... and we are the dreamers of dreams."


    MY SKETCHBOOK!
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  12. #11
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    Great Rockwell studies. In your first post, the last color study was impressive. Keep on inspiring!

    "Nihil est in intellectu quod non prius in sensu" | SB | Portfolio | FJGC (blog) | DA (Profile) | EJERCICIOS DE COLOR
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  13. #12
    wow! thank you courtyard, alexxx!
    bkkm - these are from Rockwell's book: "How I Make a Picture" and are all from his reference photos for different paintings ( a few are refs that he used for his "gossips" painting which is in the picture above..). I kind of got on a tear with doing these on one sheet after seeing his own charcoal work which is pretty fabulous. The one boy in the upper left is a copy of a portion of one of his paintings.. though I had to work it a bit more to make it say something in black and white vs color! All free hand with only a quick measure here and there and tilts sorted..
    - thanks bigjoee!
    GriNGo - thank you .. I was pleased w/that too.. it is a master copy.. I hope my own work can approach that with much more hard work!!

    Below are two alla prima paintings in oil from this last week. about 3 hours each on canva-paper which feels nice but don't be mean to it or it will shred! 12 x 16..

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    Last edited by kevinwueste; July 14th, 2009 at 07:19 PM.
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  14. #13
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    The color on these last two is quite nice, but I particularly like the second one. Keep up the good work!

    -Tim

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  15. #14

    charcoal head study..

    on smooth newsprint; about 3 or 4 hours total ( mostly to sort out shadows and flatten a bit .. general 4b pencil. 18 x 24

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  16. #15
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    Amazing charcoal work. U seems to have develop a consistent style of rendering, rather reminiscent of rockwell's painting. Not sure how you do it but it gives ur characters a very solid feel to it. Great work !

    -JS Neo

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  17. #16
    Beautiful work. I really appreciate your sensitivity to the mediums and your knowledge of form. I would offer some criticism though. In the color figure studies, the breasts seem to get hemispherical. I would suggest paying closer attention to the form in those areas and duplicating what you truly see rather than what you think you see. It might have been a fluke though, because your drawings are gorgeous. Wonderful work and keep it up!

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  18. #17
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    Really nice looking work! I don't know if it's your use of tone or what, but the models really jump off the page in these.

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  19. #18

    nice

    Killer head drawing. Nice overlapping forms of the 3/4 head. Nice separation of shadow 1/2 tones, tricky to do.

    H

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  20. #19
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    Really great work here. I Love the gesture in that first figure painting. It would be great to have your knowledge of edges! Thanks so much for sharing!

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  21. #20
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  22. #21

    A few new painting studies and drawings..

    the female figure - about 1 hour and a bit..heightened w/white a touch after..

    Mydrako - thank you and -- I WISH - but I can aspire ! huge fan of Rockwell ( probably obvious no ?!!!)
    rjw - you might be right though in the master copy the model has .. augmentation ? ! ( re: hemispherical).. the two small studies - an altogether different build of model and the sitting, facing one is definitely less successful in that area. and don't worry - I absolutely DO work to paint forms/draw forms I see - though I do believe in thinking about the structures that matter and might help me design shapes that work better ( see Bridgman, Loomis, Vanderpoel, Reilly et al) - thanks for the feedback all the same though I will redouble my efforts there!
    Jeff - thanks man! that's cool if that happens.. if I could bottle that, I would then drink it!
    Thanks Hope! if only I could do it each time.. but things are coming along ( then bouncing backward .. then forward.. and i'm spent
    SirKenneth - thank you ! - just at the beginning re: edges! but I learn from people who get it!
    Ronald - here are some more things!

    The red head study was from this week; about 4 hours on canvapaper in oil. matt, same - abt 4 hours canva paper
    figure was from 7/24 bogarting in henry yan's highschool figure class ( i sit in the back and squint !)..
    some other gestures from today and a few days ago that might be fun to show..

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  23. #22

    two new 3.5 hour life/figure studies.. and..

    a master copy of an older Richard Schmid Figure .. the small things are on canva-paper and done in Henry Yan's figure class.. the master copy is on 12 x 20 linen canvas.. about 10 hours give or take.. hope you dig!

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  24. #23
    very nice work man, great to see someone with so much determination and the will to succeed.

    In the figure paintings, your colors are generally too "raw", that is, you're using very saturated colors in the lights and I think that's preventing your work from being more believable. Local color on the lit side has a tendency to get washed out or at least heavily influenced by the color of the light. Moreover, if the light is bright, your light areas on the figure will be high in value but now in saturation.

    You're more likely to find strong color notes in the halftones and sometimes in reflected lights. Moreover, even if your lights are predominantly warm, you will still find some cool notes in there, and adding these will give greater vibration. The reverse is also true in shadows.

    Look at the rug here, Cornwell is a master of finding cools within warms, etc
    http://i39.photobucket.com/albums/e1...well/cwell.jpg

    also, here
    http://i39.photobucket.com/albums/e1...rnwell/022.jpg

    also a good Harvey Dunn nude
    http://i39.photobucket.com/albums/e1...harveydunn.jpg

    Also, watch your edge planes, there is a distinct value/plane change there as the form rounds the corner, sometimes also going cooler and softer. Your edges on the last figure's legs are razor sharp, which detracts from the illusion that her legs continue past what we can see.

    Last thing, what how/where individual strokes come together, they're creating some unwanted hard edges in your figures.

    Keep it up.

    Best,

    -Ramon

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  25. #24
    very nice work man, great to see someone with so much determination and the will to succeed.

    In the figure paintings, your colors are generally too "raw", that is, you're using very saturated colors in the lights and I think that's preventing your work from being more believable. Local color on the lit side has a tendency to get washed out or at least heavily influenced by the color of the light. Moreover, if the light is bright, your light areas on the figure will be high in value but low in saturation.

    You're more likely to find strong color notes in the halftones, accents and sometimes in reflected lights. Moreover, even if your lights are predominantly warm, you will still find some cool notes in there, and adding these will give greater vibration. The reverse is also true in shadows.

    Look at the rug here, Cornwell is a master of finding cools within warms, etc
    http://i39.photobucket.com/albums/e1...well/cwell.jpg

    also, here
    http://i39.photobucket.com/albums/e1...rnwell/022.jpg

    a good Harvey Dunn nude
    http://i39.photobucket.com/albums/e1...harveydunn.jpg

    In addition, you should watch your edge planes, there is a distinct value/plane change there as the form rounds the corner, sometimes also going cooler and softer. Your edges on the last figure's legs are razor sharp, which detracts from the illusion that her legs continue past what we can see.

    Last thing, watch how/where individual strokes come together, they're creating some unwanted hard edges in your figures.

    Keep it up.

    Best,

    -Ramon

    Last edited by Ramon Hurtado; August 5th, 2009 at 06:37 PM. Reason: clarity
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  26. #25
    Scroll down and check out the Assaels here
    http://www.conceptart.org/forums/sho...05&postcount=4

    notice how highly saturated color is used in small dabs that enliven the surface, but the notes are grayed.

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  27. #26

    a few new figures and a head or two..

    Top three from my last Glen O class.. will miss the gang there for a while as I do some work with Tony Ryder over the next few months.. the rest are from local SF figure drawing workshops ( all with crap light ( e.g., hardly any spots that point anywhere near the model @#$^$).. all 18 x 24 on newsprint.. all from life.. mostly 20 minutes and lots of 1 minute gestures and 5's and 10's.. only the top figure and portrait or an hour Plus.. thanks for looking!

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  28. #27
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    great work in here =)

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  29. #28
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    These are outstanding works!!

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  30. #29
    beautiful work



    Looking for work experience - let me show you what I can do
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  31. #30
    Kevin- I really love your work! I've been following your blog. And look forward to each new update.

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