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Thread: Miletis Ars
October 3rd, 2006 #211
I agree with much of what Armano is pointing out. He has offered perhaps the most valuable critique given to you in this thread. --- Your pencil technique is very interesting, though it seems that you are trying to tread through the snow and cover up your tracks, so to speak. Meaning, you are deliberately creating a pattern of linework that is impossible to follow and understand which begs the viewer to be fascinated by it (which we all are). But creating artwork that only draws attention to its medium draws from the life of the subject. You are desperate to stay clear of the norm that you are willing to sacrifice the integrity of the drawing to in return create a unique style of depicting your subject and unfortunately it shows through. But I think any self-respecting artist deals with this issue at one point or another and it helps define their artistic goals. We have learned a lot from eachother since we met. So keep it up cause you've got nowhere to go but up!
Hide this ad by registering as a memberOctober 3rd, 2006 #212
I would like to add that you have made massive strides since i've met you. im not exactly sure what other careers mght interest you but i personally think you should pursue fine art.
October 4th, 2006 #213
silvestri99 and Fishspawn - Thanks for dropping by
Armando and Spencer - I understand and well receive what you're saying. Much of the development of my style comes as a response to line (fairly obvious). I'm also not so attracted to representing the subject for what it is. For my tastes, the application of the medium should rival or supersede the subject (in beauty, or whatever). But, I have undeveloped taste: I'm only 16 after all. And the statement on my markmaking following comfort really triggers self-evaluation. It makes very good sense.
For Armando and perhaps Spencer (I don't know if you agree) - You're pushing your own aesthetics a little, savoring the long study and the complexity of form. Speedy representation is not necessarily the lower end of extended studies, it involves and informs a separate sensibility (basic impressionism). It maintains liquid energy that's frozen into form with longer work. Regardless, I understand the importance of working all approaches and I'll certainly apply what you've taught me.
Two sketches of a friend.
October 4th, 2006 #214
For myself, the nature of the line is always married to the nature of my subject. For example, a beautiful girl I might characterize with long flowing soft lines as opposed to an old farmer where I might characterize him with short, dark, and abrupt lines. I don't believe there is any aspect of drawing or painting that should ever supersede your subject in importance, and even in the most dry, rigid, academic studies the goal is always the subject's nature. Though you're right, it all comes down to taste, and we are both young. Regarding your repsonse to Armando, you made a good decision to (I don't know if you agree Spencer) because I absolutely dont haha. You know that I share the same value for fast studies, which you are doing fantasticaly. And if you cannot retain life in a quick sketch, you will never retain it in a long study. I am glad you are taking some of the comments into consideration, because I have taken yours and others recently and have made some pretty relevant changes in my artistic philosophy because you've been outspoken. WHen I said I agreed with him I should have been more specific. EXCELSIOR
October 4th, 2006 #215
If you can find it, I reccomend the book Alla Prima by Richard Schmid. It's a great read on the craft of painting, tons of tutorials and tips, and his style really shows how a tightly developed piece can be expressively loose at the same time. Hopefully a library nearby has it. Armando, that was a freaking awesome crit
October 5th, 2006 #216
Thanks to all for the great interest you're taking in my process.
Pen and pastel still life. I tried not to use contour lines here, just hatching. It's a little fuzzy, I may have to retake the picture. I also just noticed how I messed with the shape of the skull so you needn't comment.
Trying to restrain my line. Portrait of my sister and two cat sketches.
Last edited by Listing; October 5th, 2006 at 11:06 PM.
October 5th, 2006 #217
October 5th, 2006 #218
grisaille watercolor of that same still life. Value could have gone much deeper.
A little self portrait sketch in watercolor
My dad. He started having a conversation with my mom and so I kind of lost it.
Last edited by Listing; October 6th, 2006 at 01:13 AM.
October 5th, 2006 #219
I said it before, and I'll say it again.
I think you definitely got something going on there with the watercolors ...
October 7th, 2006 #220
October 7th, 2006 #221
October 7th, 2006 #222
try adding some hilights all over, especially the hair needs a light source. You could possibly allso try to splash on some background elements, which could mean only a slight darker tone of colour round his head. Might work.
Love the skull your doing, and I've noticed you've simplyfied you lines some, looks great.
October 7th, 2006 #223
OldNoobie and Tigermilk - Thanks for the suggestions. Certainly under advisement.
Two self portraits in pen
My nephew Harry
My little sister and niece got it into their heads to pose nude for me. So, a few gestures. A family of exhibitionists.
Last edited by Listing; October 8th, 2006 at 12:58 AM.
October 8th, 2006 #224
i like your oil studys, nicely done, but perhaps some more thoughtfulness into your linework? Some lines seem scribbly and unsure, i think tightening up a bit and being more deliberate about what lines you put down would really do alot for your work. Looking forward to more updates.
October 10th, 2006 #225
Thanks Helltaxi. I don't really know how it started, but I've developed fairly confident line that ends in a flourish (accounting for the scribble). I'm not actually repeating lines as it may seem. Still an issue.
So, I'm trying to reduce the line. Here, pen helps. Yesterday was my 17th birthday.
Mom in watercolor
Expressive charcoal self-portraits from memory (an assignment)
Little pen and pencil portraits of friends
Last edited by Listing; October 11th, 2006 at 11:33 PM.
October 11th, 2006 #226Registered User
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some nice stuff going on here man I especially like your loose gestural lines, theres alot of energy in those, very interesting to look at
Id like to see some more refined stuff though, you really have to be able to do both fast sketches (which you are good at) and longer ones (anything from an hour and up) where you try to capture everything as close to life as you can.
Some more sketches from imagination definently couldnt hurt too, even if you want to focus on drawing from life (which it seems like you do, correct me if im wrong though ) drawing something from your imagination helps you familiarize yourself with forms, 3D, composition etc, etc...
anyways, cheers man, keep it up!!
October 11th, 2006 #227
archipelago - Thanks. It must be done but I still have trouble sustaining interest in a subject over 1 1/2 - 2 hours. I'll see what I can do. On imagination. I understand the benefits of drawing from your head but my impression that when you develop an illustrative stock of figures and portraits (so you can draw them off) you limit your sight, redeveloping the symbolic seeing we have before we learn to draw. I've noticed that figures drawn from life by a fine artist are almost always deeper (more subtle, informed) than those by an illustrator (when he too draws from life). And, it doesn't interest me. I'll do it anyways.
I'm sorry that my subjects are so recursive. I have some ideas for actual art pieces but I really want to sharpen my tools before I commit.
moleskine gestures of that same friend
self portraits. I'm trying to limit line with pen.
still life sketch in pen
October 12th, 2006 #228
October 13th, 2006 #229Registered User
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October 14th, 2006 #230
Banshax - Thank you very much. I doubt absolutely that my work is worth your words (however poetically conjured).
Got some real watercolor brushes and a new set. Sorry for there being so little contrast (I'm getting used to the new application). I should do some landscapes, interiors, exteriors.
a doll's head
October 15th, 2006 #231
October 15th, 2006 #232
October 15th, 2006 #233
Yo listing. You're definately getting better with those watercolors. I think i almost agree with what armando and ammoburger were pointing out. I don't necessarily think you should ditch what you're doing, but in addition you should be doing some where you go for different styles, and long, painstaking drawings. Saying that you have underdeveloped tastes because you're young doesn't mean anything, you should still be trying different ways of going about things, you may grow to like them or learn from them even if you don't.
I'm enjoying your process, keep striving for your goals.
October 15th, 2006 #234
Hey listing, thanks for stopping by my SB!
Great stuff here, love the loose style. There seems to be somee debate here as to gesture vs. finished piece, but I'm not going to get into that because when it comes down to it, your the artist, and you have to decide what you want to do. So just keep it up!
October 16th, 2006 #235
Thanks for the input you three. I know "underdeveloped taste" seems like an immediately nebulous excuse but it's valid. What I mean is that right now I have no interest in doing highly finished studies, because I don't like them. I highly prefer a 10 min watercolor by Egon Schiele to a months-exhausting Rubens. But, I know that one feeds the other and to increase my ability and pleasure in the expressive I have to work at polishing. And I shouldn't establish a style this early. In any case I have to enjoy what I do ultimately, otherwise it's labor. I'm flattered by the interest in any case.
Two highly posed self-portraits. They go along with the last pencil self-portrait and the girl's profile. I'm composing some of them in a total scheme for my school's theater program (I have more of them at school, I'll post them when I can).
October 17th, 2006 #236
October 17th, 2006 #237
I like the studies of the class, it's good to see something more environmental and not just portraits and still lives from you. Those last two portraits are getting tighter, and it's good to see where you'll go with that. As far as style, that develops as you create solutions to problems in your artwork, predefining it will slow you down. Heh, yeah you don't need to worry about that. Good stuff man.
October 18th, 2006 #238
Blue Severin - Thank you. I'm not conciously constructing a style. But I see how it's obviously shaped up in my characteristic quickness. Longer studies: I know.
Two portraits of friends from that theater project.
Sat in my mom's bathroom and did a watercolor landscape of a table covered in miscellany, including that skull. Just details here because the whole piece lacks any sort of composition or unity.
skull, crown and core. red stick of deodorant. And brush.
candle with cap at top on a decorative platform. Perfume bottles below.
October 18th, 2006 #239
Hey listing. I know what you mean about hating the longer drawings. I absolutely loathe working for more than 10 minutes on something. I've found solace in figure drawing, when i'm trying to capture a human body and i have a long pose (unusual) i find its easier to calm down and take my time. So obviously i reccomend that, because i love it . I'm digging the portraits for the theater project, they look a little more refined. Keep messing around with watercolors and whatever you like, it is about having fun after all Keep up the hard work.
October 18th, 2006 #240
Thanks for dropping by my SB! I'm definitely liking the theatre studies and the skull studies - economizing your lines is definitely helping to make your figures and faces more graceful. Nice stuff!