While the first layer of paint is drying (see picture after 12 hours of work) I made a selfportrait in pencil (3/4 hour).
There is one thing with the Beethoven that I did not think of: my setup uses too much light so I am not able to hit the right chroma in the lit parts of the blue fabric (red fabric as well). So there are two solutions for this: buy the right pigments/paint for the high chroma lit parts or to live with it.
bjoern you seem to be slightly neglecting the lessons learnt in your cast studies in your sp's, try finding the core shadows and build unpon those (like in bargues plates/ initial cast drawing stages), you could push the darks further and by drawing onto a midtone create a richer drawer.
I couldnt recomend enough http://www.amazon.co.uk/Artists-Comp.../dp/0823003590
sony Thank you very much! Took a look at your links in the sig - fantastic work there!
mysocksrock Thank you for your words. But I don´t know if I understood you correctly. The cast drawing was done in charcoal which can be applied much darker - nearly black - than with graphite. So the shadows are much deeper. The same with the ink drawings in the 2nd of our links - with ink you can leave the paper white or go to black. User ccsears leaves a lot white in the skin. I try to be as close to the real values as possible (what is possible in 1 hour). So I don´t leave anything white (except for the highlights). The last (yesterdays) SP had daylight from the side and without any highlights - the others had bulb light. You can easily recognise the darker areas under the eye sockets on the first three.
Did I understand you correctly?
Thank you for the links - very valuable information there - and of course great pics as well.
So for todays SP I tried to employ what you said - or at least what I´ve understood.
EDIT : added a portrait of my girlfriend while she was watching a movie. Even then it is hard for her to keep the pose. She did her best. But the light was not the best.
Last edited by bjoern3000; February 24th, 2011 at 05:41 PM.
I think this is it - at least for a week or so - then I will go down to my basement and will check what still has to be done. But I am quite satisfied how it turned out. 22 hours have been spent so far on it.
Looks very nice, but perhaps for your next study set up the lighting with a shadow box? Plaster casts are so well suited to the lovely illusionistic qualities of forms appearing out of the darkness. Dorian Iten's cast studies are a wonderful example of this. That would probably also solve the chroma problem you had with the drapery if you decide to use it again in your next study.
Oh and the last still life is fantastic- be careful with those ellipses though!
"A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed [[Sketchbook]]
First of all; I really like your Beethoven study, but there are a few things I wish to point out.
First of all - there is too much detail. There is nothing wrong with having detail, but you need to know what you're doing for that to work. What you have done here is that you've gone into detail a bit too soon. What that does is that your result looks a bit more like a photoshop and not like actual paint.
Second: You have an edge problem. Its especially noticeable in the drapery in the background and here once again you've been trying to capture everything at once. Try making one-stroke brushstrokes and work from there. Look at Zorn and his drapery for examples.
A solution to some of you edge - and detail problem, is to try to make a quicksketch beforehand using a big brush(pick one suited for the job, and choose one size larger). What that does is that it forces you to look at the big picture. Then you at least have that before going in to detail. Hope that helps and I hope I haven't been to harsh on you
Bjoern, sorry my post wasnt exactly clear.
I have been reading harold speed, practice and science of drawing http://www.amazon.co.uk/Practice-Sci...9371899&sr=8-1
And it is AMAZING, you HAVE to read this book it will give you an entirely new perspective on drawing. He is a very clever man and you will learn alot. One thing I have found very useful is his chapters on mass vs line drawings, in which he points out that line drawings shouldnt use tonal ranges heavily as it wont work, being as the line destorys the illusion of 3dness. I feel with your self portraits you arent helping yourself by combining the two, if tonal/mass is your goal I find it useful to use a stronger direct light to bring better shadow/ contrast. Also adding a midtone background really pops your image.
If line quality is what you are after H.Speed shows a way of using lines to express form,
Also I found a few more plates from the net, here from the chapter Line Drawing: Practical
A approach Im sure you are aware of, but here is the use of core shadows to define an image first, much like your cast studies.
I hope you can understand why I have said you are "combining the two" and I believe now becaue of this book it is important to separate these methods, and appoarch images with an idea about what I want to do to other wise I could be trying to reveal mass where there is line and creating an unconvincing drawing.
Hey bjoern I've become a fan of your work and this last self portrait is especially good. It's got a very strong composition and I think it is your best one yet. Well done on working so hard your progress is very inspiring.
great stuff bjoern, really has an imposing feel to it.
You might want to push the cast shadows on the neck alittle more and the shadow side of your face. I think you are over compensating for the darkness of your beard (it might be a dark colour but maybe not a darker tone than your skin) on the shadow side and so the shadows are slightly held back, I do all the time.
Have a think about if the beard/hair is really that dark on the front of your face (the light side) and does it have different tonal ranges on the shadow side.
maybe try blocking out the hair in the 3rd picture of my last post, it really helps me understand where the light is going to hit.
wow I was pointed in the direction of your sketchbook by Marian (above) and it did not disappoint! I'm blown away by your level of dedication and more than that, your ingenuity! I will definitely be checking out your busts and casts in a minute as I'm after something like that myself for the last few weeks.
Anyway, I too feel like these forums have given me a huge amount,and I can't express easily how grateful I am for this community.
Well done for working so hard as a self taught artist. Keep it going, your work is looking better and better.
Is your native language German? if so you MUST - if you havn't already - buy Gottfried Bammes Die Gestalt Des Menschen. It is by far the best series of figurative illustrations I have ever seen and I believe if it was translated to English it would become the industry standard (as I believe it is in Germany). I can't read German but I bought it because the illustrations had enough value on their own.
A new selfportrait. In the last couple of weeks I started several SPs but this is the only one that was promising to turn out quite well. One of the others (not shown here) was done from a photograph and it had the usual distortions that I was not able to compensate while painting.
So I started this. I dont know how many hours I worked on it but it was done in a week.
I'm interested in doing some Bargue Plates myself, but I don't know much about them really. Could you tell me how I should get a hold of them? Do they come in a book, or do I order them individually? Thanks much, and I love the progress you've made! (I remember watching your thread when you started haha)