it's really inspiring to see that you're still here at work toward perfecting your skill!
your work is progressing for sure. Looking forward to your next post. :]
a la bapsi - It's good to get feedback from other artists so I appreciate your comments. I'm just moving along. Sometimes two steps forward, sometimes three steps back. But I just keep moving as steadily as possible.
I finally reached a stopping point on the self portrait. I feel like I learned a lot doing this one. I'm feeling more comfortable with tones, got more of a feel for the brush and paint, and am getting a better grasp on head and face anatomy. I have been looking closely at heads and faces lately in day to day life and on TV. Imagining the skull structure underneath has really helped me I think. Looking at other drawings and paintings has really helped as well.
Of course doing the self portrait from life using a mirror has been a great study. I can stare at myself all day and it will not be rude or creepy! I find myself starting at people and studying their facial structure during conversations. I try to keep this to a minimum because I don't want to creep people out.
Hey PG these last two updates look really interesting. I think painting is definitely agreeing with you and with each painting you do I can see the improvement. Well done on this last portrait it looks good and you do have some nice tones. The eyes look a little too big but you might have done this on purpose. Great stuff anyway and inspiring and exciting to see.
Hi PG, it's so cool to see how much you've improved over the last few posts.
I agree with Marian Rowling on the eyes though, and maybe the nose is a little long? But the tones is really nice, you seem to have good control over light and shadow
Marian - I didn't mean to make the eyes too big. I think I did because subconsciously that's where I wanted the emphasis. I'll have to keep an eye out for that in the future.
vinter - Thanks for stopping by my sketchbook. Looking at the painting with fresh eyes and Marian and your comments, I can see the proportions are a little off. I appreciate the crit as it helps me to look out for these things in the future.
One negative of drawing yourself from a mirror is that is it hard to measure. This is because you see the pencil you are using to measure in front of the mirror and the image of the pencil in the mirror. If anyone knows any ways to work around this please let me know. I might take a photo of my face and use it for measuring reference but use the mirror image for color, tone and such.
1-6: Figure drawing from life. Open figure drawing is back in session! woot!
7: Self portrait study from life in oils. Went for a 3/4 view this time and color too.
what's all this then?
Fellow art beginner here so we're in the same boat
I really like the idea of dating your pieces so you can look back and see how you're improving. And you can definitely see the improvement in your work here. Well done
Hey PG good update I can really see the progress with your life drawings and I really like the self portrait. I can so relate to your measuring problems with the mirror. I have had the same and I don't really have a solution so I'll be interested if you do get an answer. I just try to angle the mirror so that I can measure without my hand being in my face and sometimes I use the video cam on my laptop.
Purple goat - wat up!
Anubisuk - Thanks for the comment and visting
Marian - Thanks. Haven't found a solution for measuring in the mirror yet.
Hey PG good update. I'm glad to see you've been busy drawing away. Are you still doing your painting course? I think I might have found a local Portrait painting class. I would be keen to do if I can in oils but I don't have any materials yet and I was wondering what paints and brushes you started out with.
By the way thought this one looked great.
Marian - Thanks so much for the response. I have not been in the painting course for some time or figure drawing for that matter. However that is about to change as I start figure drawing and a plein air course next week. Both of which I am very excited about... I've never done a landscape before or painted outside so it should be an interesting experience. I've still been producing art. Basically doing studies, and messing around as you'll see in this post.
I took a peek at your sketch book and saw that you have already started painting and color studies which is awesome! In response to your question though:
I started off with a warm/cool palette (w=warm c=cool):
French Ultramarine (w)
Cobalt Blue (c)
Cadmium Yellow (w)
Cadmium Red (w)
Alizarin crimson (c)
Here are the earth pigments I have:
I first got mostly flat hogs bristle brushes:
Flat SZ 3
Flat SZ 2
Flat SZ 4
Flat SZ 4
Flat SZ 6
Flat SZ 8
A few sable brushes, Gamblin Gamsol for thinner, wood palette, painting knife, cheap canvases (some board, some stretched)
Hey PG it's good to hear from you and see what you've been doing. That's great news that you are starting figure drawing and plein air painting soon. I can understand your excitement as landscape painting really interest me as well so I hope you can find time to post and tell us all about your experiences.
Thanks so much for the info on painting supplies, here and in my SB, it is a big help. I haven't actually brought any artists oils or brushes yet, I've just been using acrylics, so this is great and I really appreciate you pointing out which are warm and cool. That's good to know.
I start my portrait painting class in a couple of weeks so I'm excited about that. Love the cube studies and portraits and can't wait to see what's to come.
For myself, I think I may have too many colors for starting, but going through the process of picking out paints has really helped me understand some color fundamentals. I didn't realize that blue could be warm for example, but it can as on blue relates to another blue, one is going to be warmer or cooler. I think that my palette allows for capturing truer colors as shadows tend to be the opposite color cast as lights. At least that's my understanding.
I was heavily influenced by this thread here: http://www.conceptart.org/forums/showthread.php?t=98647
I was at the art museum the other day admiring the Frank Duveneck paintings when I came across this interesting axiom recalled by a student of Duveneck: "Remember, great artists use few colors; amateurs use many."
Don't have enough experience with color to know if there's any truth in that statement. But I am a big fan of Duveneck so I will certainly keep it in mind.
Figure drawing tonight for the first time in awhile. Felt good to be back in the saddle again!
Another from figure drawing that I forgot. Some Loomis. A Leonardo da Vinci study. Goofin' off.
Been digging on art history lately. Made a visit to the art museum recently and really examined pieces that move me in one way or another. I examined the composition, brush strokes, color usage etc. to get a better idea how the artist did what they did and why it works. Been reading van Gogh's letters to his brother Theo. That man worked his ass off at drawing. He even postponed diving into painting hard core so he could develop his drawing skills first. I feel inspired (and envious) of his full time dedication to art.
I've been observing color in life. The morning light which is violent before the sun fully rises. I swear I felt like I was on drugs the other day when I was observing colors in shadows and reflections and such. It just started to pop out everywhere. Those colors in nature are always there. Always will be. Yet we only see them if we take the time to really look.
Been trying to observe tones in nature in preparation for landscape painting. I noticed leaves are starting to change as fall is upon us. I hope to continue to observe the "blaze of fall" before winter sets in and it's just grey skies and skeletal tree branches.
Signed up for a second open figure drawing class. This one consists of long poses. Talking 4-6 hours with each class being 2 hours. The longest pose I've done up to this point was 45 minutes. Not sure if my skill level is high enough to take advantage of a 6 hour pose. But It will give me time to concentrate on anatomy which is something I've been lacking in drawing from life. I can always move to get another "pose" or maybe start over with a different medium or technique if I get "stuck".
My first 2 hour drawing is at the end of this post. I really took my time on it and wasn't too concerned with the rendering.
Hey PG good updates and great to read that you've been doing all this art history and colour studying. Will stand you in good stead when you start your landscape course. Hopefully you will get to capture some of those beautiful colours you see in nature.
Great news also about the longer life poses. I did a life drawing day last year and like you I wasn't sure what would happen after it got to 45mins. It was all good though and I enjoyed it so much I'm doing it again this year. I'm sure you'll be fine because it really gives you the opportunity to look and study and correct all those errors we make!
Marian - Color is an amazing thing. Vision is an amazing thing! I find it interesting that our brains seem to simplify colors and shapes to make things easier to process. So when you take time to really look at things they come through as complex shapes and colors never noticed before. At least that's been my experience in "learning to see".
I'm psyched to be doing the longer life poses. Like you say it gives us the time to really look at and examine the model. Also more time to correct errors. I think this will really help me learn in drawing the figure. So I have one day a week of shorter poses (5min - 30 min) and one day a week of longer poses (4 - 6 hours). Now if I can just squeeze in some anatomy study and gesture drawing I'll really be cooking with gasoline!
Today was the first day of plein air painting. I did a monochrome painting using burnt sienna and titanium white. The focus was on composition and tones. I learned to use thumbnails to get a decent composition. The thumbnails were done using just pencil and paper. The thumbnails were broken down into four tones.
On the canvas I made a handful of marks with the paint to indicate where the masses of shapes were to be located. I used some quick measurements for this. Next I put a dot for each tone. Adjusted the dots of color until the tones seemed accurate in relation to each other. Then worked each of the four areas as a whole in order to compare the tones in relation to each other. As I was working I would refine the proportions by further measuring.
I then refined the painting even more by adding more subtle tones and increasing/decreasing tones.
- Don't paint like you paint a house. Use short strokes of paint.
- "Keep all of the sheep in the herd", as in work on all parts of painting as you go
- Tones are relative
- Tones are fundamentally important to the success of a painting
- Make a fist leaving a hole to look through. Compare tone seen though fist to the dark inside of fist
- General, big shapes first
- The sky is almost always the brightest area in a landscape
- It's easier to correct the dot of paint to get the tone right than it is to have to correct a whole area
Disclaimer -The instructor made some of the marks in the painting.
The portrait is from imagination.
Brilliant post PG and brilliant first attempt with your landscape. Sounds like it's going to be a good course, I especially like the tip about only putting a dot down first for each value. Well done with your imagination portrait I'm so excited for you I can't wait to see more. Oh I forgot to say are going to post your landscape thumbnails, I would be interested in seeing them. You've really impressed me.
Marian - Thanks a lot, I've included the thumbnails for the more recent painting. I'm really enjoying the plein air class. We just started color in the last class. My brain is officially overloaded!
- Get the tone first, worry about color later
- Mixing a color's compliment is the quickest way to reduce chroma (get it less saturated and closer to grey)
- Chroma is the intensity of the color, not to be confused with tone
- Tone is how light/dark a color appears
- Objects in the foreground tend to be more chromatic than those in the background
1- Plein air oil painting, some brush strokes are the instructor’s doing, 2.5 hours
2- Apple oil painting from life, 3+ hours
3- Quick monochromatic charcoal and oils paintings from life to study form and tone
4- More charcoal figure drawings from life
Chroma can be higher for certain colors when the values are darker (blue) and higher for other colors when the values are lighter (yellow)...
It's more like "vividness" than intensity, as intensity and saturation are terms often used interchangably. You can have higher saturation and lower chroma, and vice versa.
From the quick glance I got here, it looks like you're working hard. Keep it up!
Marian - As they say "you get out what you put in" and I feel like I'm starting to gain some skill as a result of my efforts. Although it is coming slowly, it is coming steady. Also I'm learning new things all the time. I keep trying to put myself outside of my comfort zone just a little bit to push forward. Also it's good to "review" the stuff I'm comfortable with as well to keep it fresh in my mind.
Sage - Clear as mud Still a little confused on exactly what chroma is. I'll need to think about this a little more and do some reading on it. Thanks for stopping by!
1- Figure from life - 4 hours, charcoal, 16X20 on drawing paper
2- Figures from life - quick poses and up to 30 minutes, two different models, charcoal, 16X20 on newsprint
3- Sketchbook stuff - Loomis, Bridgeman, imagination
With regards to CHROMA I was very confused by this at first. What helped me was thinking of as how bright of dull a colour is. For a example a new bright red t-shirt is high chroma where as a really old t-shirt that has turned gray through washing is low chroma. So the more gray and less colour the lower the chroma. Still clear as mud!
Marian - I really appreciate your comments and it's awesome to share our journey in art with each other. You too have made some nice progress in your life drawing.
I missed one figure drawing session because I had to work late. Finished up a two session figure drawing (4 hours total). Been concentrating on Loomis' Figure Drawing for All It's Worth. Started a plein air landscape painting. Started to go through some digital painting tutorials. Nothing to show yet.
I got some art history DVDs from the library. Here is what I've watched so far:
Walter Sickert Vs. John Singer Sargent - This documentary takes two famous London painters and compares the two. The commentator is witty as he pits the two artists against each other by judging them on different categories in a metaphorical boxing match. Various works are discussed as well as the artists' style and their approach to their work. I learned things about both artists I did not know and the film was fun. Highly Recommended.
Rubens - The Great Artists Dutch Masters - This one was well produced and presented, it is an in depth look at Rubens life and work from beginning to end. A variety of academics are interviewed and talk about different aspects of Rubens work and life. Tons of Rubens' paintings are shown. Highly Recommended.
1- Figure in charcoal – 4 hours in 2 sessions, 16X20 drawing paper
2- Drawing in graphite of couple at table from imagination
3-6 Loomis studies
7 Thumbnails for landscape painting
8 Start of plein air painting
I like the experimentation of different mediums you have going on. I also agree with studying the structure of things from life and on TV, such as people's faces. I had an exercise in animation where we had to go about and study people and their walk cycles before we animated it. Things like that are a great exercise because they add a level of realism and relation to the art you do and people can relate to it, because you've related to it. I say keep studying. Also use posemaniacs.com for gesture studies as well... uh yeah, I think that's it. Bye.
Behind every great master is a great student...
Imagination is more important than knowledge- Albert Einstein...
NEW SKETCHBOOK -- http://www.conceptart.org/forums/sho...40#post3743640
OLD SKETCHBOOK: http://conceptart.org/forums/showthr...25#post2543225
poetry man - I'm trying to stick to a few mediums to get a handle on some fundamentals. But at the same time I like to try out different ones to keep things interesting. I'm studying from the Loomis book which touches on motion of humans and capturing them in different poses throughout an action such as running or walking. I haven't drawn from that section yet but getting there.
I haven't really done much gesture lately but you're right I should! I tried posemaniacs in the past but didn't care for it too much. Instead I have compiled many figure reference photos and have a program which presents them as a slide show. You can set the interval of time you want the image to stay on the screen. So it's like Posemaniacs but with photos of real people.
Thanks for the comments!
Watched a documentary on Degas and found it interesting that he did not draw from life, only imagination and memory. He copied many master works as a student though.. Let me repeat that, Degas learned to draw by copying and drawing from memory but not directly from life!
My instructor brought this up in class today as well. He recommended trying to remember how things look and draw them from memory to help seal them in your memory. Perhaps the universe is trying to tell me something? Going to have to try this out soon.
1-4 Gestures and longer drawings of live model, 16X20 newsprint, charcoal peel'n'sketch pencil
5 -WIP, 2 hours in, 16X20 drawing paper, charcoal peel'n'sketch
6- WIP, plein air oil painting, 8X10 canvas board, about 2.5 hours in
plein air oil painting from the park today, about 2 hours
far from finished but was a great study, might go back and work on it some other time or maybe not.
Hey man, I dropped by your SB out of the TAD explore thread. I see that you have a TON of studies here which is good. Keep putting in the mileage and best of all, You have some loomis studies a couple of posts back. I got my BFA in drawing and painting and I can say I learned more studying loomis than I ever did at university. Study his anatomy books seriously as well as Creative Illustration. It will help your work so much!
Wheeljack - Thanks for stopping by! Mileage indeed.... I feel like I'm playing catchup for all those younger years I never drew. I hope to continue the Loomis studies, specifically Figure Drawing for All It's Worth right now. I'm trying to focus on the "Loomis way" of drawing figures from imagination. I tend to jump around a lot but after reading all the great reviews of this book I thought I'd go through it and see where it takes me.
3-6: Riley method studies of heads from imagination
7- quick sketch of an idea I had
8- Drew this from memory based on the live model I was drawing earlier that night
9- trying to work out the nose and facial features of the model
10- WIP update: Live model day 2. one more day left next week