I'm a illustration/fine arts student in so cal. I'll be posting my figure drawings from class and workshops here. I am still trying to achieve a better friendship with my pencil and will hopefully overcome my fear of oil painting.....baby steps....
Any helpful tidbits and suggestions would be dope.
The first few drawings range from 5min-2hr poses... My quick sketch needs some tlc, I'm still trying to figure out how to be economical with my lines.
The last five are from class last semester, followed by my portrait final. I definitely regret not adding more medium to my darks... a few more months until I can varnish!
Last edited by F!END; February 7th, 2010 at 12:39 PM.
These are nice drawings. Proportions might be a bit off in the first few drawings. As for the painting- I really like it. The snuck in warmth in the whites of the shirt and the bold lighting in the face works well. Why don't you clean it with a rag and water, and then oil it out? that will bring back your darks and will reduce the chance of odd spots if some of your pigments were in fact very absorbent when it comes time to varnish. retouch varnish would also do the job.
"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]]
Great stuff - was it homework or something that you guys all had to join CA?!
Looks like you're placing eyes a little high - but maybe that is just distortion in the photos or you're doing it intentionally. Just something I noticed.
With the redhead portrait, which is great btw, the value on left side of her neck seems way high? Doesn't fit into shadow family - in the little thumbnail "map" you seem to have it correct. Maybe to avoid bringing the lit side up with so much white you could try darkening the background against the lit edge? That will help it pop more and allow you to keep a little more color in those hot lights.
Anyway - it's great to see all the stuff you guys are doing.
What would Caravaggio do?
prufrock27- Haha thanks.. You should post yours it's awesome. The TP painting did start out with an underpainting although the approach was new to me. I started out sketching the TP with c.yellow on white canvas and kept going back over correcting my drawing with darker, cooler colors... eventually you end up with a mixed up gray and then you just scrub that into the naked parts of the canvas. At first, this approach kind of messed me up, but I really like the advantage of the redrawing process, it allows you to fix all composition and proportional problems right away.
jeffX99- Joining CA is part of the initiation process...or so I'm told :p... Anyway, I agree with you on the red head portrait... There were two light sources and one was very close to her right side, completely blowing it out. I struggled with painting what I saw vs. painting what I know...Learning!
Here's another figure study...about 2hrs or so. I was trying to work out adding tone in on her 'light' side. I still have to work out some pencil handling issues tho...
Haha Thanks Patrick! I completey agree with you. I just completed another TP still-life today in class and am going to have to paint another one next week.... pretty soon I'll have enough for a show
Been a looong week... I just started a head drawing class with Glenn Orbik at 3 kicks studio. Holy $#!T! He is AMAZING! We've only had one class so far, but I have already learned sooo much. 2d shapes and design Design DESIGN! Not necessarily new to me but while watching Glenn's demo everything just seemed to click. Ahhhhh sooo happy
On to the drawings...
The first one is from Hope's figure class that I sneak into regularly. I feel like I am getting better at proportioning and designating value.
The second one is from Glenn's class. I finally have figured out how to draw comfortably while controlling my mark making better. I cannot tell you how valuable it is to be able to watch a great artist draw. I immediately figured out sooo many things I've been doing wrong.
It's been a crazy semester... Glen's head drawing class has been sooo beneficial! Taking the time to really memorize the planes and abstractions of the head is a must. This summer is gearing up to be more intense as I'm now taking Life Drawing with Glen and Sean Cheetham's portrait painting class.
The first pic is from the last head drawing class, followed by a 2 hour head drawing of my sister. My self portrait painting was homework in Cheetham's class using his palette/method. Took me about 6 1/2 hrs. Sean's demo was like magic, he keeps things sooo simple....
Crits are more than appreciated... I'll post more as my classes progress
The progress in your drawings is amazing. Your marking making really improved, and, if the order of the posts give us a fair chronology, it almost happened from day to night. It is great to see you learned so much from Glen's class, and so quickly
bkkm- Thanks so much for the kind words Glen is the man! I have learned soo much from him and am grateful that I'm able to be in his class this summer.
I've just begun watching some instructional head drawing videos by William Maughan. I've only gotten through the first lesson and have already had a ton of 'ah hah!' moments... The concept that struck me the most was not using lines in my drawing. He only uses abstract shadow shapes and the only lines he uses are for bringing out the edge of cast shadows. I know I've probably been showed this a million times in class, but for whatever reason it didn't click until now. Maughan's book is really helpful as well.
Here's a painting from week 2 of Cheetham's portrait class. I've really been trying to simplify my colors and create a more topographic gradiation of value and temperature shifts. One of my biggest problems so far is not mixing enough paint....
The second drawing is a study I did after watching the Maughan video. I'm starting to understand what it means to see the features more abstractly and to draw those shapes as opposed to an 'eye shape' or a 'basic nose shape', etc.
They are really nice, I especially like the fourth one and the sixth one most! the sixth one looks digitally made. Her hand is a bit too long, isn´t it?
First one and sixth one have the strongest composition.
Look at you gurrrl!! You're killin it! I'm so excited to be able to watch you grow in your skills. The next few years are going to be Big for you. One thing to work on is your hand construction. The last drawing you did in class is really nice - I love the simplification and the push of the light effect.
Last edited by Raileyh; August 7th, 2010 at 01:09 PM.
I think your work is really strong,but to me sometimes it seems to crude. They are great studies,but to make them art,i think you should study the classic artists to make your work have the appeal and taste and feeling of art..while natural talent and your art can make you a great artists you need to feed from great art and learn it...it is a language...So many of the great artists learn from others as well and i sense there is a lack of it...
Also,drop the charcoal for a while (i know that is required in your classes but at least you can do it in your personal work )and draw with pen to get a firm grasp of line and going over the form...Also study perspective deeply...that will help you self correct what does not look right
Last edited by the_allejo05; August 13th, 2010 at 09:11 AM.
bjoern3000- That last painting was done in oil on gessoboard. It was fun to be able to experiment with lost edges and color notes. I have only really done paintings for class assignments so this was the first one that I could play around with.
Ms.Raileyh- It helps having someone who can teach art in a language I understand I've been studying that Hampton book on hand construction. It's been really helpful.
vikramranu- thanks for the kind words
Crush- I go to school at Laguna College of Art + Design. I studied with Cheetham at 3kicks studio. Sean is so mellow, it helps take the anxiety out of trying to finish a portrait in 4 hours.
the_allejo05- thanks for the advice. The greatest thing about art to me is that it's a never ending learning process!
I Just got back from a week long workshop with Henry Yan. It was AMAZING!! Watching him draw is like seeing how a magician does his tricks. I had soo many 'aha!' moments it made my head spin.
The drawings on newsprint range from 3 minute gestures to 20 and 40 minute figures. The ones done on drawing paper were 40 minutes long and executed using a wiping technique to get the midtones. These were done mostly in vine charcoal- compressed was used on the outlines and for the core shadows.
The last two done on toned paper were an hour long, using only vine and white chalk pencil.
those last 4 or 5 drawings are like a rocket ship took off ( the Henry Yan ship no doubt among the glen and hope ships (and yours!)).. those are just beautiful - doing some tonal drawings with the henry yan wipe technique maybe ? anyway - great stuff - you have shifted so many gears so fast - wow!
Kevin- Thanks! I've become a total workshop junkie.... good stuff. Speaking of which...when's the Wueste workshop??? I'd def be down for that
vaporz- Henry Yan is such a great teacher! He's got a dvd coming out soon on his drawing method.... check it out.
School is back in session...yay. Super busy semester, which is good. LCAD just added two long pose workshops on the weekend...hookd up.
-The following gestures consist of 2,5,and 10mins
-2.5 hr Charcoal drawing on canson from life
-4/4.5hr Figure painting limited palette (w,y.ochre,b.sienna,u.blu) from life
-4.5/5hr Portrait grisaille from life and photo