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I love your sketches. They have nothing redundant in them, so the expression is doubled.
Thanks for sharing these with us!
Still learning how to hold a pencil.
Vritra: Hey Vritra thanks so much for dropping by and leaving me such an encouraging comment. Have to say that the more I do the more excited I get as to what the future may hold and it's really great to have an artist of your level supporting me. I know I have to work hard to catch you as you are improving at a great rate.
Daria_Arbuz: Hi Daria thanks so much for your feedback. It's so encouraging for me to read such things. I shall check out your sketchbook as soon as I can.
I love drawing pears. I kept drawing these until they rotted. I was focusing on proportion and gesture. Then looking at planes, which was funny as they started to remind me of hand grenades, which may be a sign that my imagination is re-awakening. Also looking at shadow shape and then having ago with some artist's pens.
I like pears and the plane divisions, as I'm a sucker for perspective studies Be careful when rendering, however, and have your strokes follow the form so not to work against the illusion of light that you're trying to capture. Overall I enjoy your sketchbook, especially all the figure drawing. I'm a sucker for those too. Keep it up!
MrFrenik: Hey John I'm so glad you like the pears and thanks so much for your help with my rendering, I do lose the plot sometimes and I can't always work out the direction of the form. I'm glad you like figure drawing as well I shall have to check out your sketchbook when I get a chance.
Life Drawing - Term 10
5 min gestures.
45 min pose.
35 min pose.
I thought this was my best effort of the night for adding tone but I think the head and hand are too small, and I have made the poor model look like his neck is broken and his head is stuck on! So funny how you don't notice these things when your actually drawing. I guess that's why it's important to keep stepping back to look.
Thanks for visiting my thread again Marian. Everytime I visit here, you have done so much more work.
So much study, and the info you share is priceless. I'm going to have to spend a weekend in here and really read everything through. As always, fabulous work!
Thanks for stopping by my sketchbook Marian. The way you drew the pears is interesting and a method I'm thinking about drawing when I draw fruit the next time. Your figure drawings are getting better. On the 45 minute gesture, I think his leg is too long and he looks a little too stiff. I would also push the values more so he is more three dimensional.
I'm a huge sucker for life drawing anyway focus some more on proportions some of your life drawings look like their head is a little too small for their body and try experimenting with different art styles and tool you'll never know what good results you'll get
Everything is permitted
Love the pear studies great fruit too,like the way you have done them as planal studies never really thought of this with fruit but I can see the logic forcing you to think about values, light and dark edges.
Damien Levs: Thanks Damien you know I appreciate your support. In answer to your question, I have been doing an art class each week for the residents where I work. I have one resident who comes every week and i have mainly been doing simply still lifes of a piece of fruit or veg. The last two weeks I had them trying a Bargue study doing a page of eyes. They did really well. It is as much a learning experience for myself as it is for them. They can be very challenging but I really like doing it. As to the advert, I just haven't managed to make time to do one a month as I hoped. I have it in mind though so as soon as I can I will do a new one to keep it fresh and entice them in. Thanks for your interest and asking Damien.
Istmin52: Hey Ian thanks for popping in. I totally agree with you on the stiff leg, I did struggle with that one and I couldn't really see the divide between the dark and light on his back. Which is why I am starting to think about planes as I know that a plane change equals a light change. I just can't always see them, more looking and practice required.
Udonhead: Hey Udonhead thanks so much for your feedback. So glad you mention about the small heads, I have just started to notice this myself and I have done it on my next drawings to. I shall have to remember to watch out for it. Please shout out whenever you see a dodgy proportion it's a big help.
ja1307: Thanks ja1307 I'm glad you like them. I am trying to think of planes now, knowing that a plane change equals value change. Sometimes I find it helps to just draw out what I'm thinking and pears have such a great shape that they seem to work well for this. Except a couple that ended up looking more like hand grenandes!
I have been enjoying myself doing some colour charts. I did 8 charts in total. The first chart was my tube colours mixed with white and then a chart for each tube colour mixed with all the other tube colours and then white. I did these in Winsor and Newton Giffen Alkyd fast drying oils. My tube colours were Permanent Alizarin Crimson, Cadmium Red Light, Cadmium Orange, Cadmium Yellow Light, Phthalo Green, Phthalo Blue, French Ultramarine and Titamium White. Here is an example of what I did. This is the Phthalo Green chart.
Phthalo Green chart. On the palette, phthalo green and white, phthalo green + alizarin crimson + white, phthalo green + cadmiun red light + white, phthalo green + cadmium orange + white.
Completed Phthalo Green chart. On the palette, phthalo green + cadmium yellow light + white, phthalo green + phthalo blue + white, phthalo green + french ultramarine = white.
Life Drawing - Term 10
5 min gestures. I felt very stiff trying to do these. They were great poses I just couldn't do them justice.
45 min pose. I felt the arm looked too long or maybe the hand is too small. Could be both.
35 min pose. I think this was the best one of the night for proportions but I ran out of time for the rendering.
Lavender Hill Studios - Foundation Course
So I didn't have anything to show for the week before last. We started having ago at still life painting but we only had to focus on getting the drawing, the dark and light and then we cleaned our canvases off and moved on to do another. Have to say all of mine were laughable I did leave the last one at the studio to dry but I couldn't find it when I went this week. I think someone may have painted over it out of embarrassment....haha
Anyway it was all good fun and I felt I did a lot better this week. We just focused on one painting for the whole class which was about 2hrs 30mins. My paint handling felt better and I tried to just take it slowly and think about what I was putting down. My drawing and proportions were off but I felt the colour was close and I was so excited to be painting. I came home on a real high. The lighting at the studio isn't too good for photos and I have a big cast shadow from the easel at the top of the painting and the colour is not accurate. They really just give an idea of what I was doing.
Still life set up
Blocking in the dark and light. Then placing the darkest dark and lightest light
Life Drawing - Term 10
5 min gestures.
45 min pose. i seem to have elongated this one. Also struggling to put down my charcoal for the rendering.
35 min pose. I really liked this pose but i have drawn the head too small. I also got caught up in the rendering of the head because I could see the light looked good. I know that really I shouldn't do this until I have my proportions sorted but I couldn't resist.
hey that still life looks life fun, those reflection look awesome!
the figure studies look kinda flat, since they are so quick, i think they would look way better if you were to concentrate on the core shadows like you do in the various still life studies
the flat tones you are using atm don't seem to do much toward describing the form
Hey Hey thought I would check back and say hi. Very jealous of you attending the Lavender Hill school. If i could turn back time and was aware of such a place I am sure I would have gone and not left. Yeah its great to think in terms of planes with everything as you say where there is a plane shifty there is usually a shift in value. With the shorter poses maybe try and focus on a bit more rhythm in you gestures, kind in the Glenn Vilppu mind set where you want to look at the lines of flow going throughout the body and the twists ect. I am not really great at this myself but its great if you want to start doing figure compositions to start from a rhythmical gesture, so you can get some life and dynamism into your figures. Are you using a paper with some tooth to it for your charcoal seems that it maybe sitting a bit on top of the paper. Maybe do some longer studies in this media at home and then bring those techniques back to life drawing or do some master studies to tray and break down peoples techniques. I find that can help a lot too. Your block in for your still life looks great. It looks like a fantastic setup. Cant wait to see how you progress with it. I shall def be back. Keep working hard and having fun.
G@m: Hey Gam thanks so much. I did feel the reflection was the most promising bit. I hear you about the flat life drawings I have been struggling to see the core shadows as we don't have a single light source at this class. It tends to flatten everything out. I will keep working to improve this though so thanks again.
midknight523: Hi Armando thanks so much for stopping by.
ja1307: Hey, Hey ja I do have to keep pinching myself when I think I have studied with Henry Yan this year and attended Lavender Hill studio. I really think I have found a place that can teach me many things I want to learn. Just to have to keep finding the money to go.
Thanks so much for all your feedback, I agree with it all! I did do some Vilppu studies and a master study but that was a long time ago now. I only really do quick gestures once a week and we only do three poses, so I need to address this. We draw on a cartridge type of paper so it does have a bit of a tooth. I am more used to using printer paper and newsprint at home which are both smoother. My handling of charcoal is still very much a work in progress....hehehe.... you know what it's like, so much to learn, so little time. I know I will never be bored in my life or idle.
Are you able to go to the Conceptart.org workshop next May? I'm going, would be cool to meet up.
Lavender Hill Studios - Foundational Course
So my last class of this course. I can't believe how quickly the 10 weeks have gone and really I didn't want it to end. We just focused on doing a painting showing all the four steps we have been shown for painting. This is just like what we did with the last charcoal drawing and is done so if you never return you have a reminder of what you were taught.
I managed to get our teacher Joni to demonstrate on my canvas board. So that isn't me painting the final stage. I was lucky that he let me keep it. Steps 1 -3 are all mine and again I had some problems with my initial drawing and proportions. Also found blocking in the local colours quite tricky. Overall though I do feel I've improved a lot form 2 weeks ago when I was using too much turpentine and had brushes so caked in paint it was difficult to see the brush!
I've really enjoyed my time here and met a lot of great people. I have signed up to go back in the new year to do another term. We will go back to the first steps using charcoal and drawing from casts. I can't wait.
Here's a photo to give you an idea of the setup.
Step 1. Kill the white on the canvas and get in the proportions and gesture.
Step 2. Draw in the shadow shapes. Just Dark and Light.
Step 3. Block in the main local colours
Step 4. Get your teacher to paint a lovely final image!
Tried to get a better photo in daylight of last weeks painting.
Life Drawing - Term 10
So last class for this term, they go by so quickly. I had a good class where my drawing just seemed to flow. I always find it exciting when this happens as it's like a future glimpse of what I will be able to do. It's always nice to end on a high and makes me so inspired to do more.
5 min gestures.
45 min pose.
There were some really nice shapes in this pose that I liked. I started out just sighting this drawing and when I measured I had made a lot of errors. I found though that by just moving the bent knee up everything seemed to feel right. So I actually choose to leave it rather than stick rigidly to measurements.
30 min pose.
Did the opposite with this one and measured early on as I really wanted to capture the whole pose in the shorter time.
It's great to hear you feel that it's coming together for you! It certainly looks that way, and the studies are improving all the time.
One thing may help... resist the urge to think of 'lines as lines', and always think of them in relation to the other lines... the ones on the other side of the form.
In other words, you may be drawing a head, but think of the overall shape of the head when drawing the crown of the skull by visualizing the chin.
Look for opportunities to make lines disappear in the light, and get thicker in the shadows.
Coming along great! Happy Christmas and all.
Hey Marian. Thanks for stopping by my sketchbook. Sorry it took me so long to look at yours again. I do agree with ja1307 about trying to get the rhythm of the figure. Maybe try drawing in bigger strokes using your whole arm some more. I do see improvement with your proportions though. There is something really interesting going on in how you block in the figures.
Marian I've just read through your posts about Lavender Hill Studios. I looked it up again and it really REALLY looks a great place to study! Im extremely Jealous now. We have the whole of January off from school, so I'm painting away, and seeing that you are too has really motivated me. Im genuinely shocked by how lovely those still life's of yours are. As you say, the drawing and the block in are the hardest parts of the painting, but also the most important. Through what I've found in books about painting (yet to have any classes on it), I find that the procedural list of:
....is also the hierarchy of importance. something I just didn't "get" before. I used to rush the drawing (eager to paint) and then hurry onto painting, without realising I was completely ignoring the MOST important stage. If you nail the drawing, the painting will practically paint itself.
Anyway, I don't know if you've got your hands on Alla Prima (Richard Schmid) yet, but I'm sure you have so I don't need to reference how useful it is as a book!
I received a lovely message from you on my gmail address over christmas! Im sorry I didn't get the chance to reply to it, I have been working a 75 hour week recently, and have been out of contact by all my family and friends. Anyway I wanted to say thank you for that, it was very thoughtful of you.
I haven't bought you a present I'm afraid, but I can give you a crit, which (to me) is worth at least a £1 present! (haha). I see from above that you're mixing your paints with a fairly long palette knife. I've only used a few myself, but in my experience you might have an easier time with the actual mixing if you use a palette knife more at the left of the scale (see image below). Their trowel shape hangs down from the handle, so you can really use the side of the knife, and the flat bottom, as with a builder's trowel. Personally I use one of the left ones, perhaps the third one in from the left, if I had to pick a favourite. It is large enough to mix a fairly large area, but has that shape I look for for mixing
Of course, I'm not particularly knowleldgeable about this, so I can only speak from personal experience, but I hope that helps!
Happy New Year everyone and thank you to all who have visited my sketchbook and continued to encourage, support and help me through out 2012. I'm really excited to see how much I can learn and progress in 2013.
p sage: Happy New Year Chad. I had a good Christmas hope you did to. Thanks again for the encouragement and your thoughts on line. I think I am just starting to begin to be more aware of line and starting to think why am I putting a line down and how and what does it communicate. But I need to be reminded often of all the things to think about as there is so much it is easy to focus on one thing and forget another! Please do keep popping by as it all helps do much.
Gpozzo: Happy New Year Gabriel thanks so much for your feedback, I'm glad you like the pears. Hopefully as I progress I will start doing more finished studies and paintings.
Istmin52: Happy New Year Ian. Thanks again for stopping by I agree with both you and ja1307 and rhythm is something I must work on this year. I'm glad you see some improvement in the proportion though as I have really been trying hard to improve in that area. All good things to come for us both I hope this year.
Here are some studies I worked on back in November and December. Due to the site being down I am behind with my updates. So time to catch up and finish off 2012 ready for all my new studies in 2013.
Following my pear obsession I then got totally obsessed with some sweet red pointed peppers. They originally caught my eye in the supermarket and I brought them for my art class at work and then took them home with the intention to paint them. I was still super hyped from the painting we did at Lavender Hill. Unfortunately I never got the time to paint them before they started to rot so I then had to buy more as I still had the urge to paint them!
A quick pencil study I did to prepare for Art Class
A demo I did with chalk pastel on sugar paper for my Art Class student.
A very blurred photo of the original setup for painting
A quick charcoal study to sort out composition and values. This was a far as I got though.
Finally some painting! The replacement peppers were a lot longer and straighter than the original peppers so I had to change the composition to suit. These are oils on acrylic paper that I prepared with some waterbased primer. The value study was done with Burnt Sienna and Ivory Black. Colour study palette was Alizirin Crimson, Cad Red Hue, Cad Lemon Hue, Yellow Ochre, Ultramarine, Titanium White.
Ha, ha Tom we must have been typing away and posting at the same time! Happy New Year to you and I hope despite the 75 hour working week you still had a good Christmas with some tasty food. I'm thrilled with your £1 gift to me and it's funny because I have been looking out for a more trowel shaped knife but I have only been able to find very small ones, so it's good to know what you think.
Of course I have Richard Schmid's book!!!!! I think it was the second book I brought and I actually did a whole lot of colour charts as he suggests a few months back. I really enjoyed doing them and like Richard I highly recommend doing them. I totally agree with you about the painting procedure. A good drawing will determine the whole painting. The more I do the more I realise how important those first few lines I put down are and how getting them wrong can lead to total failure, but like you I am often keen to just rush on.
I find it so funny that you are jealous of me going to Lavender Hill when you are doing TAD! It is a quirky place with some very interesting characters but I know that when I'm there and I look around at the student work that it is a good place to learn those important foundations. I have just started Term 2 and I am back to drawing from casts to work on proportion and gesture. This is that important first step that provides the scaffolding for the rest of the drawing or painting to hang on. I love going there and I to am working hard to save pennies so I can keep attending. I can't wait to see what we both get up to this year.
Lavender Hill - Term 2
I've gone back to Lavender Hill studios to carry on my studies there. I really enjoyed the Foundational course and I really want to continue being able to study in this way. After such a long break we focused on the first two steps of proportion and gesture. My proportions are way off still. I seem to draw the figure too wide. Here are a few examples, the last one felt too tall and too skinny to me when I drew it but actually it was much closer to the correct proportions. Just goes to show how far out my eye and sighting is.
These are for you Marian:
I'm sure you know much more than me about the fundamentals of painting, and the setup, but I think these are two very good resources for gleaning what I find to be hard to learn online!
As always, keep on working hard!