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Here are some more figures from Glenn's, we had a 3 hour pose! Unfortunately, it was a back view and I didn't know enough to carry on the drawing for 3 hours, so I started doing studies of the figure from different angles....Glenn gave me some great advice the other day....basically what he said was that I was having trouble with the 2d aspects of drawing, that I should draw while looking at the model...i.e. not down at my paper! It works, I'm surprised at how little I look at the paper now, and everything is tons more accurate.
Also, I finally got my shit together and painted my friend Candice's portrait, it's not the best portrait ever, but in terms of color temp and paint handling I think it's one of my better efforts.
Last edited by Ramon Hurtado; May 8th, 2008 at 04:42 AM.
Wow nice work! Do you work on one pose/drawing for a continued class period (over a few weeks) or is it one sitting every class? Again nice job
I see that you have a special knack for drawing folds of cloth. That really fills me with inspiration. I am trying to understand folds of clothing in painting. I am especially filled with awe as I look at Greek and Roman sculptures, paintings of masters like Michelangelo in Sistine Chapel where folds of cloth have been extensively used. What I seek to achieve is the effect of a long cloth swelling up in a billow in the face of wind creating drama and motion.
oruhito: We work on poses usually going up to 20 mins, sometimes 1 hr and this one time we did 3 hours, all poses are basically short, and only last one session, we never carry over to the next class.
yogamit: Thanks, I'm actually going to restudy folds soon, I don't have a solid grasp on their functioning either. If it helps, I know that points of tension (joints) etc, are huge determinants for the look of cloth, as is the material itself. When drawing clothes it is also important to subordinate them to the form underneath, not to copy every fold.
Here's something I've been working on for the past few days, a PS painting illustrating one of the first scenes in Pushkin's The Station Master....I was pressed for time because it's due tomorrow, but after I get out of school I might try to go back and fix it. crits welcome.
Wow the life drawings are positively beautiful, aswell as the portrait; she breathes.
"A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed
some detail shots if anyone is interested
Also, my final layout drawing for this, and a value correction i would make if I were to repaint this (I might)...basically the white is too blue in the shadows...i attached a grayscale with the changes too
some crappy drawings I did today in Glenn's, tI'm kind of in an awkward drawing phase, my figures are suffering because now that I can see a lot more structural stuff, I'm trying to put that in but forgetting about the most important part....GESTURE!!!! Anyway, once I figure out how to reconcile the two, my drawings should see some improvement
Anyway, today was my last day in Glenn's, I'm most likely not going to take his class in the fall because I won't have tuesdays free anymore, but man, I learned soooo much in just two classes with Glenn!!!! I do however, have fridays free, so I'll try to attend Karl Gnass's class. Now I have a whole summer ahead of me! A whole summer to create my portfolio for applying to Art Center!
I like where the illustration is heading. The interaction between the characters is going to work out nice I think.
I see some issues regarding perspective, mainly that the floor either looks too high up or you need some adjustment in scale with the figures and table.
The table seems a little akward in relation to the figures as well. I think the top surface needs to come up.
A couple things that I want to remind you off when you take it to a higher finish : mainly the fall of light ( light diminishing in strength the further it travels away from the source (window) and the contrast : the furher away from the lightsource the less contrast between light and shadow because of the fall of light. Think about the planes that will be reflecting light into your shadows as well. Make sure it is organized.
Thanks for the crits Tom, you're right about the table, it got a little confusing, and I hadn't noticed that it was too low I doubt I'll be working any more on this particular painting, but I'll keep what you said about light in mind for next time. I wish my camera were working so I could post up some pictures of the two paintings I did recently....hopefully I'll post soon..I think my paintings got better. In the meantime, here's a study sheet from an italian engraving and some of my teacher's anatomy notes....my pen strokes suckkkkk!
It's cooking time! I'm applying for Art Center's Illustration program for spring 09, and this might be one of my portfolio works. I think it's an improvement for me in the color/value/edge departments, although some of the drawing is off....mainly parts of the board and the bottle.....partly because I bumped into the board at one point The more I work on this the more I screw it up though, so I fixed what I could, and keeping the issues that came up in mind for my next painting.
Crits welcome and PS. I hear back from Disney before friday!
Edit: better photo and added a detail of the pot....there's still a lot of lens distortion on both, particularly the bottle, it's much straighter than that
Last edited by Ramon Hurtado; May 24th, 2008 at 06:49 PM.
What's up Ramon ? Nice job on the still life ! You really nailed the pot and the board looks good too. Keep up the hard work - it'll pay off my friend.
Take care - B
Hey Brendan thanks a lot man, yeah hopefully it'll pay off eventually
Here's a plein air of my dad, little more than an hour i think, it was fun, we were at the beach, too bad I didn't have enough time to add the water :/
I still hate my camera at home, the colors in the pic are only approximately like the ones in the painting
Last edited by Ramon Hurtado; May 24th, 2008 at 06:58 PM.
Damn dude, there is a power in those paintings! Imho, face misses some light.
Thanks mono, yeah I should have gotten my dad to turn so the light struck him a little, it's that damn hat too lol.
Here's a study I did in my backyard today...i painted it in the shade bnecause my mom was afraid I'd get skin cancer if I was in the sun.....but when I stepped out into the sun, I realized that my darks were way lighter than I expected lol.
So, yesterday, I was aching to start a master copy, as I have been for some time now. I searched and searched for a suitable painting, one that I could get excited about and featured a full figure. I was also looking for a file that was high res enough. All the Rubens images I found were either unreasonably difficult to copy (some day Rubens, some day!) or really crappy reproductions. I've been trying to find higher resolution images by Jordaens and Ribera because I really like their work, but since they're more obscure, I had little luck. But, I found this awesome site caravaggio.com....at first it seemed ok, nothing extraordinary....then after I found that the site allows you to zoom into images a lot....and i mean a LOT...unfortunately the viewing area is small....so I spent about an hour selecting an image, zooming then stitching in photoshop.
But now I'm ready to copy, I mostly finished the imprimatura....There are some inaccuracies, but I'm not after an exact copy. Rather, this copy is really an excuse for me to render a fully three dimensional figure (or at least try). My plan is to copy a few figures like this, to train myself to paint similar figures in my own compositions, from my own drawings...so I can at least create one big oil composition with full figures for my art center portfolio. I still need a story to inspire me, but once I find one, I plan to go all out and try to get the closest I can to an old master painting....lofty plans I know but what the hell right?
Anyway,, I'll post progress shots later
A study of Greuze for today. I think it went ok, but I got ahead of myself looking at the planes and made the sided plane too narrow in my lay-in. However, I learned a LOT about using line to emphasize the direction/fullness of form, and the bony structure. Anyway, this study didn't take that long, and I've been wanting to study Greuze more in-depth for ages so maybe I'll do more of these. BTW the hair does not even compare to the way Greuze handled it
Panchosimpson, have you seen this Caravaggio website? http://www.caravaggio.rai.it/
It's pretty amazing to be able to zoom in so close to his paintings. I realized that the colors of his paintings are completely different than what I was looking at in the book I have of his work. I've been working on a copy of the Sleeping Cupid and in my book the colors are very yellow, not at all like what I saw up close on that website. I'm not sure how the original colors compare to the website colors.
Last edited by deepbluehue; June 8th, 2008 at 10:50 PM. Reason: grammar
yup, that's the one I used to get the image I'm working from, but I accessed it through caravaggio.com...thanks for the direct link!
Way to be man. You do a really solid master study, yet you're not completely satisfied ! That is how you're going to get great. Side plane and hair aside, it's a very nice study. Using that line to convey form is not easy - you handled it well. Keep up the good work.
hey Brendan, thanks man, means a lot! I miss hanging around in the morning talking about art, see you in the fall in Karl's though. Here's another thing I'm working on.
It's called "Learning to Paint" and it will likely be another one of my portfolio pieces. The skull is there to symbolize the study of anatomy that is so important to me now. The old paint can looked cooler than my paint tubes, its function and that of the brushes is pretty obvious (although the brushes are mainly there for compositional ends)...the books signify all the hard work and study necessary to paint, and the coins that will eventually be there will represent all the money that my parents and I have spent on classes, paint, etc.
I worked on it for about an hour or two today, mainly on the skull (worked longer yesterday on the umber lay-in, then rough color rub-in). I'm pretty happy so far because I thing stubborn Mr. Skull is getting a kick in the ass or two, the color is pulling together, and the planes are getting there. I want to do a lot of refinement though, drawing inspiration from my favorite still life painter, Pieter Claesz. I'm going to the local museum to see some work by Rubens, Van Dyck, Rembrandt, Claesz, Hals, Murillo, Copley and some of my other heroes, so hopefully give me some pointers Smiley
Anyway, I've still got quite a bit to go on this painting, but hopefully it'll be better than the last one!
Amazing progress, dude.
It must be wonderful to study under Glen. I can only wish to have the chance sometime in the future... How old is he?
Anyway, as Allejo mentioned before, doing more drawings from imagination, I agree that this is really important.
I always enjoy the new stuff in this thread, but the explanation of the last painting was particularly cool. Its interesting hear your thoughts on the signification of the various elements at work.
You going to be back in San Diego for the summer, or stilling hanging up in LA?
I haven't been down to the park in a while, but I'm pretty sure the SDMA is going to exhibit a lot of work from female artists for the next few months. Mostly modernists I'm sure, but I've been meaning to get down there and check it out.
Anyhow, just wanted to drop by and say nice work, while I'm out here making the rounds. Take it easy man
Nice work on the still lifes, but keep your values close together. Round up slowly in the light to make it pop.
hunter: I draw from my imagination quite a bit, I just don't post it very often (with the exception of the composition with the table/people). It was great to study with Glenn, though I'm not sure I'll be able to since my schedule is different now, I'm going to study with Karl Gnass though. Glenn's 72 I think, but he's still in great shape (before I left, I saw him standing on a 3 foot high drawing horse, trying to fix something on the wall).
Jason: Hey man, yeah I've been back in SD for about 3 weeks now, keeping busy, finally had a chance to hit up balboa. We should go sketching some time
Tom: thanks Just to clarify, do you mean that I should have finer value gradations to make things more round? or have a narrower value range? Anyway, I'll put your advice to work on the skull still life, I'm not done with that by a long shot! Anyway, always appreciate the advice!
Btw sorry I haven't gotten back to your email, been busy with stuff lately.
Ok, so I was reading a pdf of notes on a lecture by Harvey Dunn (Dean Cornwell's teacher and a student of Howard Pyle) and he mentions that there is no place for fear in art. He also said that sometimes, the things that seem the hardest to paint come without great difficulty, because the attitude of humility one adopts in that situation is more conducive to good painting. So I went outside for a bit today and decided to tackle whatever looked interesting, not giving a damn if it was hard or not....so I came upon this random corner of our house....I was intimidated by the pine tree and the bush/plant thing beneath it, there was so much to mix!
However, the gods of painting took pity on me and let me do a decent job here, with minimal pain....in fact, the hardest part was painting the damn pillar, because my hand wasn't cooperating on the whole straightness thing (which it's usually pretty good about). Anyway, I tried to work on my edges while painting the tree, but my darkest darks came out a bit too light because I painted in the shade again...must find new way of painting outdoors and not getting skin cancer
Your value range should be as narrow as the light in your scene allows it to be. Yes, with close values I mean, round up to the light as slow as the curvature of the form and the amount of light available will allow. A lot of times people tend to round up into the light way too fast, myself included. The more you put inbetween the more volume will be achieved. BUT, remember to keep it in relation to the global light effect in your scene!
Ted does this demo where he draws a big egg like shape around the entire scene to demonstrate this. He calls it the golden egg demo
The outdoor sketch.... is beautiful. Your best one yet I think. The treatment of the edges of the tree is very nicely done, lots of variation but everything kept together. Not easy to do! Lovely hue variations and light temperature consistency, nice values. Before the purple in your shadows outdoors was too noticeable, not in relation to the other chromas, this is much better. Are you using dioxazine purple? If you are, watch out with that one, use it sparingly.
What's going on Ramon ? I like the last piece. It's a simple piece, but I can imagine it the scene in my head. Only critique is what's going on in the foreground? Bushes ?
Hey, I've got a question for you. I remember during one of our discussions before Glenn's class you mentioning studying anatomy by drawing stuff over and over again. My anatomical studies have dwindled as of late (human and animal). When I go back, should I draw the same things over and over again (ie p.20 of bridgman/p.12 of Vilppu etc.) so I can build a visual memory of it in my head ? Is that what you meant with the studies ?
Nice man! Im really liking the edges you got going on the pole contra the whispyness of the pinetrees.
A solution for the painting in the shade, is to get a white umbrella and clasp it to your easel. You can buy them specifically for easels for abut 40 bucks. James Gurney uses C-stands, but i reckon they are too damn cumbersome for me to be lugging around! I take it you know about this blog? Incredibly informative for just what we are doing!
[url=http://galleryonefone.blogspot.com[/url] This would be my gallery in Sweden
This would be my Pleine Air blog
Tom: thanks for the clarification, I'm trying to keep my values close now (or as close as I can for now, on the skull). I'm glad you liked the plein air, I just got lucky My palette is basically a double primary palette, cad yellow, y. ochre, cad red, alizarin, ultramarine, ivory black and titanium white, I haven't really played around with the fancier pigments (though I have my eye on viridian). I just used to mix too much blue and alizarin!
Brendan: Hey man, yeah the bushes in the foreground kinda screwed me up, that and I forgot to continue the brick wall from the left side! the thing behind the bush is a house.
Tim: Yeah I check Gurney's site pretty religiously actually Thanks for the umbrella suggestion, I'll see if I can try that out, in the meantime, I got my hands on an obscenely large hat
Update on the still life, still a ways to go, and still not as good as the Pieter Claesz still lifes I've been looking at (the man was insane!) but it's relatively good for me Sorry for the low quality pictures!
Roundy , roundy round... Looking good so far..
Round and end your forms more Ramon. Don't mush everything together at the edges. Do not worry about the highlights till the very end. They can be distracting but try to ignore them when your modelling the form. And don't round up to them, in stead round up to your lightest form lights! Then put in the highlights afterwards. Observe the form and analyze... what is directed towards the light, what is directed more away..., what is nearer to the light, what is further away... and then mix your value accordingly. If you know the relation of the plane to the light, you know how much light it receives and therefore know how dark or light it needs to be. No more guessing by squinting !
That skull is actually a very good study object!
Keep it up buddy. Look forward to your progress!
Hey Tom, can you explain what you mean rounding and ending forms? Also mushing things together at the edges. I'd like to have a better understanding of this before I keep working on it tonight I'm trying to think of what's facing what as much as I can, even to the point of getting up and touching certain planes in subtle/hard to see areas. It's really challenging! I think the skull is one of the hardest things to paint successfully, actually, looking online, it was hard to find very many nicely painted ones, the ones by Pieter Claesz and Hals are the best I've seen. Anyway, thanks a bunch Tom.
PS. yeah I totally crapped out on the highlights, I'll try to fix that.