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April 27th, 2012 #16
Great job on this last one Ramon, you have captured so much weight and form. Thanks also for the free painting demo link. It made me want to learn painting so much that I went and brought three videos, even though I can't really afford them! That said please feed back to Rob if you can that I would be willing to pay to watch online workshops like this.
Also, I saw your comment about continuing to work small and I wondered why that was? Is it because you are planning to do mainly alla prima works, so you want to keep your painting fast and fresh?
Hide this ad by registering as a memberApril 27th, 2012 #17
cquinn: It's amazing to see him paint. The demo in the video is an extremely quick one for him. I just got back from class, today's demo was extremely controlled and subtle, regardless of what he does, he's always in control of the painting. It's really exciting.
Marian: Thanks Marian, it's one of the better figure paintings I've done. I'll pass on the word, but I don't know if he'll do anything like that again, he seems extremely busy all the time.
As for keeping paintings small, there are a few reasons. My favorite painters worked fairly small and I too enjoy the challenge of working at that scale. I eventually want to work on multi-figure genre scenes at say 30x40 inches at the most. The figures in a painting like this would likely not exceed 12 inches in height (and would often be much smaller), so I need to learn to work at that size.
I plan to paint very directly, but I view quick alla prima paintings as studies, rather than finished work. Above all, I love small, highly worked up figures painted with lots of energy.
Something like Fortuny's La Vicaria (which is, interestingly enough, painted on an old door)
April 28th, 2012 #18
May 4th, 2012 #19
Do you know somewhere online where I can find good images of Fortuny s work? I d love to check out some of his drawings/paintings as well as stuff done by other artists in his school/movement or whatever you want to call it.
Thanks for the infos. Very helpful
May 4th, 2012 #20
Ramon: great work! Thanks for sharing!www.ClassicalAtelier@HOME.com
My website for learning traditional fine art on your own! --- Derived from THIS thread at CA.org
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drawing casts (geometric shapes, anatomical casts, skull), tutorials on Bargue drawing and cast drawing, Willow Charcoal, free drawing exercises
May 5th, 2012 #21
These are great! My teacher studied under Rob, and I am a fan of his work as well. I love the drawings and the figure with his back to you especially.
May 6th, 2012 #22
May 6th, 2012 #23
We started a new pose at Rob's this week. I decided to focus on modeling form more thoroughly this time around, working with a limited palette of white, yellow ochre, cad yellow, alizarin and black. It's been really fun and very instructive to work on volume, without worrying too much about extravagant color. I spent most of the 4 hour session on the umber drawing, then worked on the torso during the last hour and a half. I'll post more shots of this at is progresses.
May 7th, 2012 #24
It looks good Ramon, you can really feel the form of all the muscle's. Can I ask is your umber painting dry before you start painting over it, and also in your palette why did you choose cad yellow and yellow ochre? I've only just started painting so palettes and colour mixing is all fairly new to me, I wonder if you paint a figure with the similar skin tones in the same light if the skin tone mixes would be made of the same colours? Sorry so many questions.
May 7th, 2012 #25Registered User
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Your modeling and sense of form are really great.
You might want to watch out for stiffness. There's a little- not a lot, you're clearly very good- that creeps into your studies.This is most obvious in your studies of feet, which you might want to study a bit more, more because they are very easy to avoid drawing in a life session than anything else.
Really good work. Glad to have seen it.Sketchbook Updated December 15th 2011
May 12th, 2012 #26
Marian: The umber drawing was mostly dry because the surface I was working on was a bit too absorbent. It's better if it's not completely dry, so you can knit the halftones into the mass of umber shadows (although that's irrelevant if you're pushing further and working out the color of your shadows.) The point is to keep the paint wet so you can model it and fuse the edges. My palette is really basic, all you need is a yellow, a red, a blue and white to mix most of the things you'll see, especially in an indoor setting. Yellow ochre is a good workhorse yellow because it's not particularly strong, I keep cadmium around in case I need a more chromatic yellow.
More work on my study of Zeki, this week I worked out the head. Next week, onto the lower arm and legs!
May 12th, 2012 #27
lovely construction dude, nice use of those cooler colours as well.
May 12th, 2012 #28Registered User
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Big fan of yours! I love all your oils and think you will go very far (you're so lucky to be working under Liberace!).
I did notice some slight perspective issues with the last head of yours. It's some pretty minor stuff, but I know that you are very intent on achieving as high as level as you can so I thought I'd point out what I saw could use some work.
Hope this helps!Website
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May 13th, 2012 #29
I would LOVE to see some original compositions from you. Your figure work is fabulous.
May 13th, 2012 #30
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