figure and portraits continued

We continued our study of the figure and the musculature.  Using tracing paper, I draw the big muscle groups over the reference picture to aid in the development of the drawing. It helps to understand how the shapes and shadows fall across the body. 

We did lots of tracings of the figure and broke down the body into simplified shapes to understand different poses and how to construct our own figurative pieces.

I transferred my reference image using the charcoal and tracing paper technique onto my primed canvas.

Using a simplified palette, I block in and big form model the basic shapes that make up the figure.

The result is the first layer in copying this work.

Did some tracings of simplified shapes that describe and communicate a portrait.  All that is needed is light and dark and then we can develop it further from there.

Next we work on portraiture,  I transfer a copy of my reference image onto a prepared canvas board and block in the shadow shapes.

I block in the fleshy bits of the face, keeping thing simple and not worrying about detail elements at this point. There is not, enough time left in the class to complete what we started, however the lessons were full to leave us with plenty to work with in order to improve our practice.

I quickly block in his clothing and pack up all my wet paintings in order to head home and eat with enough time to prep for my evening class at Quickdraw Animation Society.

Never stop improving your technique

Practice does make perfect. With art you've got to practice, practice and practice some more.

I know I need to put in more quality time to get to where I want to go artistically. I am taking another 3 day workshop with Martinho Correria titled: Studying the figure through the Masters at the Calgary School of Art at Cactus Arts Supply store. Check out their respective website for more info. Its nice to see some familiar faces as well as many new ones for this intensive in classical atelier methods of instruction. I love the private training, you always get pushed beyond the levels and learn so much, making the price worth every penny. I highly recommend these courses and others like them at Swinton's Art Supply etc. if you really want to learn artistic skills and techniques directly form those in the craft every now and again I ma delegated at the opportunity to improve my skills as a student and devote some time to improving my practice.

After the first lecture we worked on tracing gesture type drawings from old masters works to get a feel for the essence of "gesture drawings". It is challenging to remove what you know and previous skills and learn to work a different way. These gesture drawings are meant to be simple ways of conveying the weight and feeling of a model and freezing it into a moment as models tend to move even when posing for a long time. This means you have to learn to capture the feeling behind the figure being drawn.  We traced a myriad of figures done by different artists for reference.

We learned how to properly prepare a pencil and how to hold it for this type of drawing. This one was plastic composite and not wood, I was fooled at first, until I got my exact blade in it, it shaved weird. Then you make a point in the lead with some sandpaper and use smooth wrist and arm movements to create soft and curved S and C curved lines.

We practiced on a small Brague drawing example. First doing a gesture drawing to capture the feeling of the form and then moving into getting the basic shapes and proportions of the figure in place. I took additional notes during the demos to add to the invaluable handouts our instructor Martinho provided.

After a lunch of a delicious "Manwich" at the Holy smoke Grill across the street, I felt groggy with so much meat and bun in my belly. I set up my drawing board on an easel and set up the reference next to the paper another student was kind to offer me to try and work on. This pose is a little intimidating given how much time we had left in the class.

We worked on drawing our figure larger using comparative proportions. I think my guy is a little thick, in places, there is some definite tweaking needed before continuing onto the next stage. But I did manage to get the majority of the figure blocked in in the time given. I look forward to learning more in the next few days, we will see how things develop, I hope this interests you and you come back to check it out.

Ciao for now = :D

Drawing Portraits Workshop

1 day drawing workshop with Martinho Correia at the Calgary School or Art.

This workshop will introduce students to the principles of portrait drawing in the realist tradition. Concepts to be covered include: measuring and proportion, planes and forms as well as values and shape design. The goal of the class is to give students an understanding of the traditional approach to creating an accurate and beautiful portrait.

The workshop began with an introduction to the Bargue drawing book and method. We were given a hand out to use as reference. Though there wasn't enough time to correctly make the drawing we got a start in on the method. Ususally a drawing like this can take about two weeks to finish.

Here is the start. I used a bamboo stick to get the relative size of elements starting from the plumb line down the center then finding the outer edges by using fractional measurements and their relationship to one another.

After the break we learned about the many elements that make up the head and face. We drew a head at a slight turn and began building this "realistic" face by relationships, not by referencing any actual person to give us a practical idea how the elements fit together in relation to one another. How the brow line in the top of the ear etc.

We blocked in more features as if they were basic solids onto the planes previously created. The mouth are as a shape that is similar to a half slice of an orange.

We added a bit of shading to accentuate the masses in the shapes on the planes of the face.

We used the muzzle shape and a starting point to create the protrusion of the lips on the face. This exercise helped teach how the shadows fall on the curving surface of the lips and how they sit.

We described more areas on the face with some directional shade lines.

More lines and shadows were added on our make believe practice head while we studied the finer points of its construction relative to some of the handouts we were given as reference. I like the eyeball in the upper right and how it describes how light and shadow fall on the iris.

I loved this reference image of how the muscles sit on the skull to create some of the movements of the face. Also note the workshop set up. Nice.

Martinho showed us some great exercises for drawing shapes off of old masters works in tracing paper. Then the aim is to try and replicate it exact by freehand. Every now and again putting the tracing paper over your drawing to see if you are accurate.

We used a transfer method to draw in a portrait to describe and break down the basic shapes of the face as well as challenged to draw in the models eye that as completely in shadow inthe reference photo.

Here I have built up the basic shadow. My eye placement seems off now that I look at it again days later. Damn.  At any rate, i begin describing the planes by directional shading.

I blocked in the major planes of areas of light and dark. and described with line the simplified major planes of the face. We reached the end of the class and it was very inspiring if not a huge challenge in a short period of time but it gives me the gears to see differently and set forth on my continued path to improving my artistic practice. It feels like there is still such a long, long way to go.

Portraits in Oils - Week 2 - FRIDAY

The final day, keep working + time to put some finishing touches

 We began the day slowly. I think the reluctance to start stems from a few areas, fatigue, was a major one, but mostly we didn't want it to end. We stood around as Martinho covered glazes, with a video from a surly guy from Brooklyn telling it exactly how it is, quite refreshing. A glaze is just thinned down paint used to tweak the tone if needed a the end.*

*With this style of painting that glazing is unecessary if you did it right the first time,  I need to make an additional clause:  VERMEER AMENDMENT! (glazing over a Grisaille under painting method.)

 I oiled in and then decided to rework the girls face because I like torturing myself. Mainly I felt the need to assert that I had in fact learned to understand the value system and to work with my palette. Plus I wasn't happy with it, I knew I could do better and when you have a pro who can give you feedback it helps, 'cause in the studio you have no one to help. So though it looks a little messy, I went back to the first stage of controlling the fall of light/big form modelling stage. Her chin area wasn't dark enough before and it was throwing off the whole relationship between values. This helped solidify some of what I had learned throughout the workshop.

Here are some examples of Martinho's work. The top is a copy he made from one of his teachers pieces. He has not only fantastic drawing skills to get the details and proportions right but also superb control of the subtlety of values and colour. That is a skill in my craft that I badly desire. In the bottom piece if you start at the feet you can see the beginning stages of the work, as you follow up the leg to the thigh you pass the dead coloring stage and get to the big form modelling stage. As you travel up the light side of the ribs and arm you see masterfully finished work, and for me, my jaw drops the the beauty in which he subtly renders the figure to perfection.

At the lunch break, I helped another participant, Darryl, with his HD camera. After the lunchbreak, We we introduced to the theory of colour for broken colur backgrounds. This is where if you look from a distance the background appears to be say greenish, but as you get close you realize those greens are mixed in your eye and in fact, it is made up of a variety of other colours. first there is th movement of tone in the background, from low to high value. With each of those colours you then mix a breakdown of each with low and high chroma. Green is made up of yellow and blue so you mix a yellow and blue of high and low chroma for each value that will go on the canvas. It may be equal to a day of work, but the effect is quite stunning.

 I revisited the work from the first week to play with the background. This piece was a learning lesson and will most likely be abandoned unless I really feel like making it into something, I hung it in my studio as a reminder. I barely got the legs to second stage painting but you can really see how this method lends itself to creating realistic looking figures, for me the legs seem to pop. Now I need to keep working on my craft and develop and loose sensitivity to applying the paint subtly like the masters.

 Here is a scene from the workshop, the craziness of an arts studio while we are in it creating. Now it site empty. The other participants were a joy, through the trials and tribulations. I kept thinking that this is what art school should have been like, the work ethic and the challenges making ti worth while to show up daily. Like the studios for training the masters back in the day. I learned so much in so little time. It renewed my vigor to attain artistic mastery. I asked myself, why hadn't I done this so long ago?!

Here are me and my half Portugeuse bretheren and workshop Instructor Martinho on the last day. Teh Bob Ross shirt is definitely tongue and cheek when you know the level of work and quality we hope to attain. It cant be done watching a half of an hour PBS TV program. I want to impart why this pursuit toward beauty matters to me so much. I feel vigorously renewed after this training, my goals in life redefined:

Beauty is my muse. 

It is the essential life blood of my existence.
 

I am an artist. 

I make beautiful things to look at. 

The job of the artist is to uplift the soul.

I must become the best at my craft so that I can do this.

If you see beauty in everything your soul is set free.

This brings me happiness.

Portraits in Oils - Week 2 - Thursday

First and Second painting stages 

Regular start to the day, set up my area for working. Oil in on both pieces to bring up the darks. The morning chat was extended over some coffee and donuts the nice ladies brought in, I know I'll regret it later though. My medium for the day is 1: 1 (1 Damar to 1 oil) + a little cobalt drier to speed things up.

The most important thing I've found out is to put the time in to properly lay out my palette. Today I further refined it and it is really helping the work progress.

Struggling with this female portrait, I decide to refine the shadows in order to help me really "see" the values. On some parts I mixed Persian/Indian red straight in from the tube and blended it on the canvas. I am surprised how much chroma is needed, further emphasizing the importance of as high quality materials as you can afford.

My work is angular and harsh. Above is Marthino's as an example of what this stage should look like. The lighting is very different, but he is highly adept and subtle value and tonal ranges, it is very impressive to me, and if you look closely at his work is is still very loose and painterly up close.

 I had to step back and re-examine my value range. It is really starting to click. I began describing the planes, and in some areas they are still very angular but as I begin to blend the edges they will be more convincing. Here I mainly worked in bringing up some of the lights in the shadow area and adding more highlights.

 The importance of a proper first painting and falling light/ flesh ball are very apparent, if they are not right it is difficult to hold the entire picture together realistically. Now I can tell why so many works I've seen (not by any accomplished artists, of course) look so flat and lifeless, they do not have proper control over sculpting the planes of the face on top of properly under painted value ranges.

Here is my happy little work area, my tabaret full of materials.  My piece has second painting done with a more full color range. The girls portrait is beginning to come together a bit better.

 After class, I am going to Marthino's talk about A renewal of Sacred Art at St. Mary's University.

Portraits in Oils - Week 2 - Wednesday

big form modelling...

I began by oiling in. The first color I started with the basic flesh color. The basic idea is to make the head into a flesh ball of sorts.  By examining the planes of the head and where the light is hitting it makes it easier to get the basic turning of the simple form.

The medium I used was a 3:1. That is 3 parts solvent/Damar varnish mix to 1 part linseed oil. A good place to start is with a bit of red umber mixed with white and starting near the bed bug line. Commit this to memory: "the darkest light should be lighter than the lightest dark". Already the image has moved away from flat Warhol like image to a rounded naturalistic form.

 I jumped back and forth between canvases once the paint got overworked and tacky due to the rapid drying provided by the addition of a few drops of cobalt drier. Here you can see the modelling of the form of the girls face, done in much the same way. It is becoming apparent how important the early stages, though seemingly simple, make up the map you will need later on to take the picture work.

One method I'm working with is learning how to properly use a well laid out palette. Here is my first try. Its simple but it seems to work. I've strung out the main colors of the flesh palette we are using. It helps to understand the changes in value and tonality and how to use it systematically to the best effect.

Another pointer, and I'm picking up a lot of good working skills, is to have two containers of turpentine, one for the first clean of the brushes and my smaller one for the cleaned brushes used for thinning, that way I wont get muddied colors while working. Also use more paint and have more chroma, in order to guard against inadvertent greying of my tones.

The next step after the big form modelling is to work on the planes of the face.  This is where small color shifts based on the values are added in. We had a reference picture to simplify the planes of the face, very useful. I also had to go back into my shadows and darken them to get more depth in my image.  I worked on creating more form and tonality in the shirt. You can see how having the initial big form modelling is a real asset/

I went back and forth into the two portraits. Here I built more into the female face but was really struggling to maintain her beauty, while my work was still to flat and the creases and planes too well defined to be believable.

I ended off on a positive note with my self portrait. Got some color in the lips. Nice form on the forehead and some definition in the shadow areas and some depth developing in the clothing and background. Looking forward to the Animation Lock down tonight and hump day coming to a close so I can get a little rest and really make a charge on the last two days of the workshop.

Portraits in Oils - Week 2 - Tuesday

Self - portrait

Our workshop Martinho Corriea gave a demo on creating a portrait. He is so skilled in his craft, he makes it look easy.

I didn't have a color copy so I printed out a black and white reference on my home computer. I traced out my image onto tracing paper by taping it up on the big windows at the Calgary School of Art.

 I rubbed down the back of the tracing paper with vine charcoal, lined it up the way I liked the composition to appear on the canvas and traced back over top of my line to press the charcoal thru the paper and onto the ground.

The canvas that was prepared last week with Lead white and textured with a super sponge was wet sanded and given a rub of burnt umber before beginning. I then inked in traced sketch with thinned down umber.

I dead coloured my shadows first, the half tone for the skin and threw down come color for the shirt area.

 I added a background made up of yellow ochre, black and white and let it dry overnight while going back and forth between the other portrait of the girl I started (yesterday's post entry).