great stuff. wonderful figure drawings. I love how you captured the gesture on the sitting woman.
One of the values I think of a master copy is understanding the brushwork and trying to match it with the least amount of strokes. Sargeant was a genius with his profficient and economical brushwork. This was an assignment for a class at LAAFA. We were required to copy at the same size as the original.
I really enjoyed this exercise.
I learned alot about mixing dark flesh tones and the variations with a limited palette.
wow! you gotta teach me how to paint sometime! I really wanna learn how to paint like Sargent or how to paint like you do! I've only had books on drawing. It's pretty hard for me to purchase a good book on painting like Schmid's book.
Do you have YM or any knd of Instant Messaging?
Last edited by Dizon; November 5th, 2006 at 11:41 PM.
Thanks for checking out my SB, OldNoobie Will definately continue to keep it going.
Thank you for the vote of confidence in my work. I learned the best by 1st submersing into a painting class for 2 years. I do have the Schmid book (a paperback is available that is not as expensive) but I haven't read it! I needed constant feedback in the beginning. It helped immensely to be corrected out of bad technique before it became a habit. I've been studying the last 3 years, and I'm still wobbly. Lately I've been using the Zorn limited pallette of cadium red, yellow ochre, black and white. Learning to control these colors for all your fleshtones has been a tremendous learning experience. No instant messaging set up at the moment. There's always PM's. My next exercise should be Zorn copies with Zorn palette!
Last edited by AztcFireFlower; November 7th, 2006 at 02:53 AM.
Your life sketches are great
I'd be interested in seeing some of your limited palette paintings.
My sketches (such as they are)
and while you're at it, why not visit:
Hi patdzon Don't mind a bit. I'm still learning to control this palette, so I am far far from profficient, but I will be glad to disperse what I know.
Welcome gigglepixie Thanks for visiting and your comment. I plan to upload some 3 hour paint studies soon.
The discipline behind the Zorn palette is that you must learn to approximate with only those colors. It's about adjusting and balancing warm with cool tones, learning how far to neutralize or gray down a color (desaturating it) using bits of black as the blue, as well as white in the palette. Keep in mind that yellow ochre is also a grayer yellow. I use cadmium red as the warmest color. Now, the beauty of this palette is that you only have those 4 colors to work with. Meaning that you don't spend extra time mucking around too many colors to match what you see. You'd be surprised how rich and close to true fleshtones an experienced painter can create. Many many subtle variations can be produced by adding a dot more of red/white for rosy tone, more red/yllw ocher for a more tan sun burnt quality. This experimenting and mixing is exactly what will teach you to see color on the figure as well as on your palette.
Here are a few more portrait studies. About 3-4 hours each. The last 2 are earlier studies of plane design and trying to maintain a sculptural quality to the head.
Last edited by AztcFireFlower; November 8th, 2006 at 02:55 AM.
Hey Aztc, thanks again for the help! I figured if I started painting, I should start with the Zorn Palette. Is that a good start? Will they also teach you to use a wider palette, as well? If so, what kind of palette would that be? And can you further explain about "using black as blue"?
Thanks. Nice portraits, too.
About Black as Blue......General color mixing is based on the use of 3 colors: Red, Yellow, Blue. White is used to lighten a tone. In practice mixing flesh tones, the compliment of the initial color is used to grey out the color. Since Red, Orange is in the initial mix for flesh, the compliment of it is usually Green or Blue, respectively. A Blue tinted mix in flesh color mixing is often used to neutralize a color, that is to kill some of the red/orange hue.
In the beginning, I used to paint pumpkin skinned people because I mixed straight yellow and red with some white, not realizing and seeing that flesh is very grey. And the compliment of this mix was needed to bring the color back to the realm of reality.
The limited palette I use is Winsor Newton-Cadmium Red, Yellow ochre, Titanium White, and Gamblin Ivory Black. The black is regarded as a Blue in the limited palette. If you mix with a yellow you do get a kinda olivey green. If your subject is wearing Lime Green, you will approximate this color using Y.Ochre and Black mostly in value, but never get the actual Lime color. For me a limited palette helped me to understand color mixing. It's still a struggle, but worth every effort.
I think a good teacher will help you understand a limited palette as well as a wider one. My instructor actually started his students with black and white studies to teach control of values as a first most important step. Then on to the limited palette.
The site Wet Canvas has a forum that is all about painting and theories. I would check it out. In the meantime, I found an article here that may explain a little about mixing paint in general.
I hope I didn't confuse and this helps.
Last edited by AztcFireFlower; November 8th, 2006 at 05:59 PM.
Hi, I really liked your figure drawings and I'm going to study them so I can try something new at figure drawing tomorrow. Could you tell me a little about your process, things to keep in mind, or any books that helped you? I also like the last two portraits (balding guy and guy with hat), but I think maybe their mouths could be moved forward/up.
great job on the figure drawings
I'm glad you posted in my thread and thanks, otherwise I could have missed this.
i really like you pictures!! i'm new to this site but i'm really enjoying these works of art! will try to put some of my works online for you to judge
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