To make it short: I (21, no art instruction or education yet) try to learn the craft of painting, and need a place where I can document my mistakes, my progress, and the useful stuff I stumble over, while being surrounded by like minded people, which can benefit from my postings as well. I somehow feel that this section is better suited than the SB forum.
This thread will hopefully turn into a small source of information for everyone who is in my position, everyone who is struggling, everyone who got rejected from an atelier or school, who hasn't got any money for proper education and seeks other ways to become better.
While searching for stuff to learn the fundamentals I discover many great things to learn, and I will share them of course.
Thanks for stopping by, and if you have something on your mind that could help anyone, no matter if critique, a tip, a question, videoclip, or a link -> please share your thoughts.
The first images show portrait studies from local people who where so kind to sit for me for free. (The old man is still a wip) I used charcoal and white chalk/pastel on toned paper. The first study is not finished yet, I will update it as soon as it is.
I try to use techniques I found by watching trailers and youtube clips.
Here you have them:
Instructions by the great and generous David Kassan.
For education you may want to consider trying to go the USA. Theres a boatload of private classical realist academies there esp on the eastcoast and they are generally about half the price of the european ones. I think its something to do with the policies regarding taxes and recognition of non profit organizations. Not sure but I chatted once with one of the sculpture instructors at the grandcentral academy in NYC and thats what he said.
You seem to have a pretty good idea about working from general to specific which is obv key and a great start. You should check out Practice and Science of Drawing by Harold Speed. You can get it for free off the internets or cheap as a real book. I ve been reading it on my ipod and its pretty intense with loads of things to ponder about how to approach your drawing practice.
Also make use of your local museums. Idk what they have in Vienna but I m sure its great. Here in Berlin I try to make it over to the museums as much as I can and they are like my very own cast hall with loads of inspiration to get you pumped.
make sure to click through each week, the link above just shows week one
and a wip from me. The underdrawing... I will not use it as a cartoon which gets transfered, instead I will paint over it after applying fixative and matte medium. Its drawn on an aluminium composite panel. Pretty rough and messy drawn, but if its accurate I don't care about clean handling.
I did not do a real color study. But if I would want to do one:
If I you would like to do several color studies of one part of the picture, just draw the outlines on a surface with black ink, can be ordinary paper as well, and put tracing paper on the top. Paint on the tracing paper. For another color study of the same spot, just use another piece of tracing paper. No need to waste money on a canvas or a board.
Go and watch the videos of Duffy Sheridan on youtube. He uses tracing paper to paint on when he faces some problems. He just puts it on top of the problematic area and paints on it until he figured out the solution for his problem. Why don't use it for color studies as well?
You work is beautiful. Thank you very much for both posting your works in progress and the links to Jacob and others. They're very helpful.
I have no critiques to offer, but am curious about your methods. Do you just block in the forms that you 'see' (even when working from imagination), or do you also construct the objects from simple forms (like mannequins and spheres/cubes/whatever)?
I do both. It depends on the problem you have in front of your nose, and I would recommend not to get too hung up on one way, on a certain method. Always keep your eyes on solving the problem or mess, not on the method.
There are several schools to find if you start walking from the ateliers in America, across Europe and ending you journey in the Repin Academy.
Sight size and comparative measurement to draw and paint something accurately has it's place in a picture. Understanding what you draw and constructing it with knowledge and skill instead of abstracting reality into lines to copy what you see, as well. ( for example for painting a figure from imagination ) Both approaches should be used wisely in my opinion.
The description above represents my own narrow view, so I recommend to read the posts and blogs of Scott Waddell and Douglas Flint, two masters in my eyes. There is also a thread about construction somewhere ... Take a look at Scott's videos as well, especially those about blocking in the forms(1st link):
I hope I could help you. If something is not clear described, just point it out.
To sum the answer up: I just learn every method I can find, and use it according to the problem I have to solve. (Sometimes it ends in a mess as well.) I recommend everyone to do the same thing. I do not have or use a single specific drawing method alone through the whole process. But remember, that I am just a "student", green stuff, when it comes to the ability of executing a painting.
ps: Please excuse any mistakes, because I have to get back to work, and I am from Austria, so it's in my nature to trip over the english language today.
Last edited by AckermannPhilip; October 21st, 2012 at 01:27 PM.
Nickydraws, thank you. It was a hard road so far, but I did not accomplish anything worth mentioning so far. And it will probably get much harder from here... Reason enough to share what I find, because everyone goes through the same turmoil. Nobody should be left in the dark.
You subscribed? I am overwhelmed. I hope that I will do justice to your expectations.
Larriva, if you would know how long it takes me to get that stoff accurate.... but thanks. I appreciate it to read something like that from a skiled painter.
oma thanks, I hope to proof this thing worthy enough to be in your bookmarks.
ZombieMariachisThanks. It really does not always matter at what age we develop our dedication for something. Especially not in painting and drawing.
There is probably a huge amount of artists, which started extremely late, and achieved extremely much. Look at Brad Rigney for example.
Mane, Thank you. Yes, that is a "huge" problem. I think it's the main problem of many students or beginners. Getting the value relationship on solid ground. I will try to get past the mid tone dabble.
Last edited by AckermannPhilip; June 14th, 2012 at 10:44 AM.