Tuesday, May 26, 2009
Some more work on this, 12 hours so far, about 11 x 14". I should finish in the next session. Leaves are hard!!!
Tomorrow I start a 24 x 36 plein air in the park. I want this to be a huge challenge, and it very well might take me a few weeks of steady work to complete, since I'll likely pick something with intricate architecture at the park. I'm going to seek a broader effect in the larger painting though, because the current one is a bit busy all over. That's ok for a smaller painting, but not for a large one. Off to studying Sargent and Guy Rose again!
Sunday, May 24, 2009
New gouache from my yard, and update on the last one. I'm learning a lot from the oil one, I think I'm like 10 hours into it...and I've been enjoying the process of evaluating spots of color and using a broken, impressionist treatment to achieve a greater sense of light. I'm also loading certain areas with pure color... maybe a dab or two where it's consistent with what I see, but it still adds to the color vibration. I'm conceiving the oil as a long term study in light, seeing how much information I can add without marring the big impression. C & C welcome
Thursday, May 21, 2009
here's some more work on the plein air painting of my yard. I think my color values are more accurate than in previous studies, and I'm trying to push my observation as far as the painters I admire, Guy Rose in this case...and maybe Caillebotte and early Monet to a lesser extent.
Tuesday, May 19, 2009
After one of my favorite painters....man that guy could get character into a head!! I'm working on trying to get that fleshy feel into my own work. The baroque painters have it in abundance, although it's largely missing from a lot of contemporary impressionist/optical type draftsmanship. It's all in the feel of the form!
Sunday, May 17, 2009
Here's the first paintings of the summer. Unfortunately, my camera at home refuses to take decent pictures of paintings. I tried to fix them in photoshop, and at least they're....err...viewable....sort of.
The 2nd one is in progress. I'm including a detail shot of the bottom portion, which is basically done. The top shows the broad rubbing of approximate local color that I used to start (frottis).
Saturday, May 16, 2009
This summer, I'm determined to study hands and feet and really understand the structure, since it's not something I've devoted much time to in the past. So, here are some studies of my (barbaric looking) hands and feet, inspired by some of Durer's drawings.
I'll be doing more of these soon, and hope I'll screw up less (viz. the cramped thumb space in the left hand of the 2nd image).
Monday, May 11, 2009
Anyone who's read this blog for 5 minutes already knows that I'm a BIG Cornwell fan....I mean, really big. Anyway, For my Drawing and Rendering for Theater class I was allowed to choose any assignment as a final, so I decided I would finally copy a Cornwell. In the past, I had been intimidated by the sheer brilliance and spontaneity of his work, but I decided to go for it.
The copy was really instructive, Cornwell was not only an amazing painter, he was a hell of a designer. I hope that someday my pictures will have the same carrying power and broadness of vision that his have, not to mention all the character he injects into...well..... everything!
Tuesday, May 5, 2009
Sunday, May 3, 2009
So, here are some more figures from the week. I feel like my figure drawings are finally starting to look the way I want them to, like the figure exercises of 18th century students. I've been experimenting with drawing my lay-in more intuitively and loosely, and drawing with a very light, controlled touch. I've also been trying to achieve very clear transitions between areas and delineating the planes to the best of my ability. To balance this all out though, I've been trying to be really loose and have been playing around with ink in my sketchbook, so I'm including one of those drawings as well.
During class, Will gave me a really good critique (see above) about adding accents to nail down forms and gaining increased three-dimensionality. It was pretty impressive to see the drawing start to "pop" more just with a few swift strokes. It actually made the drawing look very "Tiepolo-y", and I really like Tiepolo! With that in mind, I tried to apply his advice to my drawings of Brandt the next day in Glenn's class.
Also, a portrait of my "Drawing and Rendering for Theater" teacher, Don Llewellyn.