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Thread: Big Update pg 7 ---The Art Department Student Showcase: FREE TAD CLASS on pg 4!

  1. #151
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    No Argument!

    ruslan-

    I do think you are confusing drawing with point-of-view or personal expression. Drawing can be taught (although it is a life long pursuit), point-of-view is much more a personal journey. Drawing is something you never completely learn, but you can technically master aspects of it. Point-of-view has much more to do with what you know and how you look at the world.

    The lines get blurry when drawing is effected by point-of-view. You mentioned Schiele, I believe to be one of the greatest drawers ever. His drawings were very personal and I agree you can't teach what make his drawings great, you can only encourage! I also agree that the environment and the information students are exposed to is extremely important.

    As in Schiele's drawings, personal expression becomes the most important aspect of what makes an artists work great! You can technically be a great drawer, have nothing to say and make uninteresting images. This is a battle that has raged on for centuries and will continue. It come down to, you cannot quantify all aspects of art!

    I don't think we are arguing.

    Fun discussion,

    John

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    My only point on Egon is this. Without his teacher, he would not have been who he became. Klimt took his traditional learnings and went his own way and Egon went even further with those leanings. The impact is very clear. The grammar of art is there. What a student says with it is their own journey. Having others around who have taken that journey to the height of their careers is of incredible help. As it is with the TAD students, as it was with me back in the day, as it was with anyone who was fortunate to have a great teacher or teachers.

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    Hmm, Schiele is tricky.
    What i meant was his history. He began studying in the Wiener Kunstakademie when he was 16. His teacher was not Klimt, but Christian Griepenkerl. He had an very determined opinion towards art. Because of that Egon Schiele broke with the artschool after just a few years. He foundet the Neukunstgruppe and organised expositions.
    Only after that he met a lot of important persons, who were a big influense on him, like Klimt for example. For me Klimt and Schiele are this kind of community i am talking of. They had no teacher, student relationship. They both were a part of an community.
    That is exactly what i mean.

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    This is an awesome inspiration kick - glad to see the TAD is kicking off so well! The progress being made is nothing short of amazing, but it is not unbelievable. When you dedicated yourself enough to learning you can achieve anything! I hope someday sooner rather than later to partake in some of the classes being offered, but for now seeing the work is a great motivational boost.

    On the front of art school vs TAD debate..I will say one thing. At art school you are jumbled between four to six classes that each have their own demands...and most of the time they just don't mesh very gracefully...having to switch your brain from a liberal arts class assignment due tomorrow but then knowing you really want to get a jump on those illustration thumbnails that are due in a couple days. It's a mess. I know in the illustration academy its the complete opposite, focused on one sole assignment for the week. I'm not too caught up with how TAD runs...so correct me if I'm wrong...but I imagine it's a lot less nerve wrecking and the classes are much more cohesive!

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  6. #155
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    man i'm so jealous,this forces me to push me even harder

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  8. #156
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    Quote Originally Posted by EccoXile View Post
    I know in the illustration academy its the complete opposite, focused on one sole assignment for the week. I'm not too caught up with how TAD runs...so correct me if I'm wrong...but I imagine it's a lot less nerve wrecking and the classes are much more cohesive!
    The TAD classes interelate very elegantly. I'm a full time student, and, while I obviously can tell the classes apart and they have different focuses, there is a sense in which they all blur together into one large educational journey.

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    That sure is some fanatastic talent

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    Quote Originally Posted by ruslan View Post
    Hmm, Schiele is tricky.
    What i meant was his history. He began studying in the Wiener Kunstakademie when he was 16. His teacher was not Klimt, but Christian Griepenkerl. He had an very determined opinion towards art. Because of that Egon Schiele broke with the artschool after just a few years. He foundet the Neukunstgruppe and organised expositions.
    Only after that he met a lot of important persons, who were a big influense on him, like Klimt for example. For me Klimt and Schiele are this kind of community i am talking of. They had no teacher, student relationship. They both were a part of an community.
    That is exactly what i mean.
    Klimt clearly had an impact on his work, whether it was an art school situation or not, the idea still applies. Drawing is taught, can be taught and should be taught. In the case of Egon, it was obviously of impact. The beauty of TAD is it is being taught from opposite and complimentary points of view. There is the academic approach that leans on structural and constructive dimension, there is the optical, there is the illustrative and mannerist, there is the abstract and contemporary....and there is no other art school where that is happening to that degree. TAD is open to a lot of different views and through exposing those views to the students and allowing them to make their own minds up, we are seeing great progress.

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    Included are a couple images from Composition and Color where we are learning temperature painting based of doing a grisaille (black and white under painting) base and then digital overlay/multiply layer washes in order to get temperature separation between light and shadow, prior to moving to full color.

    This is a similar process to that which the dutch used with oil painting back in the Baroque period, which we are applying here to digital painting.

    This is really a 3-4 stage process and these are the first two steps.

    1. value painting- one step too high key
    2. overlay/multiply washes and erasing out the lights...as if it were a sienna/ochre glaze over a dry grisaille that is lifted out with a rag and brush.
    3. full color (not shown yet) washes/glazes
    4. Opaque lights...the fat over the lean, so to speak.

    MindCandyMan Jonathan Hardesty


    Fredrik Rattzen


    Alex Johnston


    Fredrik Rattzen



    The reason this process is taught is it can be used for doing color painting from black and white images, rather than having to repaint completed concept art or illustrations. It is often easier to get the black and white stage approved by the art director and then once done a number of color studies can be quickly done for the art director to choose from. The temperature painting stage is rarely shown...but is part of the process used to get the students to learn to see that light and shadow can have different temperature ranges.


    Enjoy,



    Jason


    P.S. here is one of the personal works from TAD student Fredrik Rattzen this semester just for fun. Nice piece. Great hands. Sad piece. The topic was Loss.



    Last edited by Jason Manley; December 6th, 2010 at 02:26 PM.
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  16. #160
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    Jason and John your enthusiasm and knowledge is so infectious!

    sb most art copied to page 1
    Weapons of Mass Creation 2011 ::: Add your favourites!
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  18. #161
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    this is superb.
    i love the rembrandt lighting in alex johnston's really nice stuff guys! were they from photos or mirror?

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  20. #162
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    That is the exact goal...to not be able to tell if it is from reference or life

    Honestly, I do not know. Gents?


    I just posted a huge huge update in the sketchbooks thread for those who care to see
    : http://conceptart.org/forums/showthread.php?t=202251

    Here are a few sneak peeks from the thread.

    Caitlin Worth





    Egil Thompson









    Enjoy!



    Jason

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    More quality with every update. Please keep that tendency

    Last edited by Nubb; December 8th, 2010 at 02:24 AM. Reason: because i can.
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    Quote Originally Posted by ryanoir View Post
    this is superb.
    i love the rembrandt lighting in alex johnston's really nice stuff guys! were they from photos or mirror?
    To take a photo with perfect Rembrandt lighting was one of the first assignments in Brent Watkinson's Photography for Artists class. My portrait was painted from the photo I took for that assignment. I can't speak for Frederik, but I suspect it's from photography, as we were required to post the reference we were using anyway.

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    I just posted another update in the sketchbook forums. Here is the link. Happy Holidays everyone!!!!

    http://conceptart.org/forums/showthr...35#post2951535



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    Update from Foundations!

    The semester is over, so I thought I would post some of the great work done at the end of my Media One class. This class also had George Pratt and Andrew Jones teaching segments (George: Pen & Ink and Andrew: Painter)

    Enjoy!

    Media One:

    Colin Boyer
    Colin Boyer
    Brock Cooper
    Caitlin Worth
    Carl Knox
    Cory Trego-Erdner
    Dorian Iten
    Egil Thompson
    Jonathan Hardesty
    Jessica Priebe
    Julio Fernandez
    Miles Wadsworth
    Ronaldo Salazar
    Phil Leitz
    Subruto Bhaumik

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    Last edited by John English; December 14th, 2010 at 02:19 PM.
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  28. #167
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    Update from Foundations!

    Now for my Figure One Class.

    Enjoy!

    Figure One:

    Alex Johnston
    Alex Johnston
    Andrew Brinkman
    Andrew Brinkman
    Caitlin Worth
    Caitlin Worth
    Caitlin Worth
    Paul Temple
    Paul Temple
    Paul Temple
    Egil Thompson
    Egil Thompson
    Egil Thompson
    Jonathan Hardesty
    Jonathan Hardesty
    Jon Neimeister
    Jon Neimeister
    Jessica Piebe
    Julia Hodges
    Lior Schiller
    Lior Schiller
    Michal Zelenak
    Michal Zelenak
    Nate Abell
    Phil Lietz
    Phil Lietz
    Simon Hetu
    Subruto Bhaumik

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  30. #168
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    wooah these figures really put mine to shame!
    are they done in soft or hard pastel? i really love the technique of them all!
    thanks for some great inspiration

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  32. #169
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    Thanks!

    ryanoir-

    Thanks for the interest!

    The drawings (for the most part) are done with Nupastels on a toned paper. The focus of this assignment is to identify the silhouette and to learn to see shape. Rendering is secondary to the pose, proportions, weight transfer, proper angles and contours. Below is a suggested list of pastels we post for the class, but the colors can be altered if you use a light and medium dark.

    Nupastels:

    Naples Yellow Light 247-P
    Warm Grey Medium 219-P

    The colors listed below work as well as those above, so any combination will work, as long as you have a LIGHT and a MEDIUM DARK. The idea is to have a light-value pastel and a medium-dark value pastel.

    additional colors and numbers
    Shell Pink 366-P
    Warm Grey Medium 219-P
    Warm Grey Light 239-P
    Sepia 293-P
    Van Dyke Brown 283-P

    Thanks again,

    John

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  33. #170
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    Great, thanks for posting. I love the pastel work. I think it's wise to help students develop these simple but very authoritative figurative works.

    For the media class are those a series of self-portraits?

    "Three's so little room for error."--Elwell
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  35. #171
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    Thanks!

    Cory-

    Thanks for the support!

    The self-portraits are from the last assignment (given by Andrew Jones) to develop a self-portrait using Corel Painter as the medium. It was the third assignment using Painter. The previous mediums were Charcoal & Graphite and Pen & Ink. The earlier assignments were:

    Create a Master Copy of an image created by (Fechin, Holbein and Durer) using Charcoal & Graphite and then create a personal piece using the same material and understanding gained from the Master Copy.

    Create a Master Copy of an image created by (Vierge, Abbey, Pyle, Frost, Coll, Kley, Booth, Caniff, Frazeta, Jones, Wrightson and Pratt) using Pen & Ink and then create a personal piece using the same material and understanding gained from the Master Copy.

    During the semester I had the luxury of having George Pratt assist with Pen & Ink and Andrew Jones with Corel Painter. I was focused on the Charcoal and Graphite.

    Here are a few examples of the previous assignments:

    Alex Johnston
    Alex Johnston
    Brock Cooper
    Caitlin Worth
    Caitlin Worth
    Carl Knox
    Colin Boyer
    Cory Trego-Erdner
    Cory Trego-Erdner
    Cory Trego-Erdner
    Dorian Iten
    Egil Thompson
    Egil Thompson
    Egil Thompson
    Phil Lietz
    Paul Temple
    Colin Boyer
    Inna Grishina
    Inna Grishina
    Jonathan Hardesty
    Jonathan Hardesty
    Jessica Priebe
    Jessica Priebe
    Julio Fernandez
    Nate Abell
    Nate Abell
    Nate Abell
    Phil Lietz
    Paul Temple

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    Last edited by John English; December 15th, 2010 at 08:25 PM.
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  37. #172
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    So much inspiration in one thread i can't wait to join you guys in feb!!

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  39. #173
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    Thanks!

    JawadAyub-

    Thanks for the kind words, I really enjoy showing off the success of our students!

    I look forward to meeting you next semester,

    John

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    if i weren't convinced that TAD was a good idea, this thread would have blown that up in flames.
    your great guys! very inspirational
    gotta get me some master studies like that!

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  42. #175
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    Outstanding, also great insight and conversation going on in this thread so a triple thumbs up to that with that fake third arm i wish i had.

    Note to self - Do not try to invade your house.
    Art so far SketchBook
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  44. #176
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    Wow. Most of these are really excellent, and all of them are good. Nice to see you guys are getting students to learn classical drawing and master forms.

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    just wanted to chime in and say even though I probably won't be able to afford this, it's inspiring to see the work you guys put out.

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    3-Week Workshop!

    Donm-

    Thanks for chiming in and I hope you find a way to attend. Did you send your work in for scholarship opportunity?

    I wanted to post an update on our first week of the workshop. Sterling Hundley and I were the first two artists to present and give assignment. The assignment was to produce a portrait of one of the other students, I will post some of their images next week.

    The other instructors for the week included Jason Manley, Francis Vallejo, Trey Bryan, Jane Radstrom and Orlando Sanchez Jr. This week Brent Watkinson, Marshall Vandruff, George Pratt and others are in attendance. Next week Ron & Vanessa Lemen, Anita Kunz, Jon Foster, Brett Briley, Jason Manley, myself and a few surprises will be in attendance

    Sterling and I each did several demonstrations. Sterlings first demo was as current assignment he was doing for Rolling Stone Magazine (portrait of Gregg Allman), his second was a portrait of one of the students. I did several self- portraits. The Gregg Allman portrait can now be seen in the recent issue of Rolling Stone.

    Here are three of the demonstrations and a few images from the first two weeks of the workshop!

    Enjoy,

    John

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    John: Thank you. Not yet, but I am currently working on a portfolio to apply for any scholarship opportunities for the Spring 2011 semester.

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  52. #180
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    the 2011 Update begins!

    I am proud to share this inspiring body of work from TAD students in this first 2011 update, in which there will be a lot more to share.

    This is all freshman work from our Foundations A and Foundations B programs. Next semester, for many of these artists, their majors will begin. For now we focus on core studies, skill building, and idea/communication.

    Currently TAD is enrolling new students for fall 2011. We hope you can make it. The early sign up deadline is April 15 so get your apps in if you are coming to join the fray!

    I am so happy about the progress s ofar. It is the most fulfilling I have built and been a part of in my career. The student work speaks for itself and it is an honor to be helping so many serious and hard working students. It is a joy to teach here and I know the other instructors feel the same. So much inspiring work...

    More to come!

    Enjoy!


    Jason Manley
    TAD
    President
    Founder
    Massive Black
    ConceptArt.Org

    Josh Anderson


    Jama Jurabaev








    Colin Boyer


    Carlton Tomlin


    Nate Abell


    Alex Johnston


    Andrew Sommer


    Caitlin Worth






    Carl Knox






    Eric Messinger


    Alex Konstad




    Jonathan Hardesty


    Jon Neimeister




    Jamie Quist


    Jeronimo Gomez


    Jussi Tarvainen


    Kirsten Zirngibl






    Mathias Kollros


    Pierluigi Abbondanza




    Dorian Iten


    Last edited by Jason Manley; April 2nd, 2011 at 05:18 PM.
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