We had an interesting discussion this past week about realistic (or hyper-realistic) painting vs. realistic
painting with fantastic elements. A fellow student shared some of the hyper-realistic paintings of Charles Jeong from South Korea. I shared Allen Williams’ If Beauty Were a Book, done in graphite.
I realized while I like representational art, I prefer works that convey emotion or story more than complete accuracy.
In our final assignment of the class (costume figure), I decided to change it up a bit and use color and value changes, and even changes in the model to alter the mood.
It great to get back painting again. I combined a gouache underpainting with transparent watercolor and then Faber Castell Polychromos pencils and little touches of Sennelier pastels for highlights. It was nice to see that all of the media seemed to work together.
Had a great time with the critique group through SCBWI last weekend. Now I have a week off before starting Concept Illustration.
This past week my class has been looking at the drawing of expressive hands. We’re still working for the most part in charcoal which is getting easier to handle for me. I like Strathmore Toned Paper and I’m finding it easier to get darker tones with a softer Nitram charcoal. I had started with Strathmore 500 charcoal, but it doesn’t have the smooth look of toned paper.
Besides drawing practice (whole body gestures) and these hand drawings, we also have a discussion post where we post examples of expressive hands. Everyone always shares very different examples – it’s a great part of the class.
The three I shaerd this past week were from Rackham, Wyeth, and Earl Oliver Hurst. In the Rackham, I thought it was an interesting contrast between the knobby hands of the old woman and the simple open hands of the children. The Wyeth also showcases contrasts in this Heidi picture. The grandfather is tanned and has a commanding gesture. It’s contrasted with Heidi’s fairer and more tentative post. The Hurst I liked because he seemed to contrast the confident face of the man with the nervous lines in his jacket and hands.
Interesting work in Life Drawing class the past week. We’re learning how to simplify figures by blocking in simple geometric shapes. It helps generalize what you’re seeing and I think will make it easier working from life.
At the Terryl Whitlach conference, she had recommended Future Publications’ How to Paint and Draw Anatomy which showed how to break the human figure into simpler shapes. I found the book (actually both volumes) online at Scribd.
Today, my teacher also shared a video that will make really help what I want to be able to do. The figures are very fluid, but also have volume.
I dropped my Hornblower in the Crisis of at the Washington State Convention Center on Wednesday and got a sneak peek at other work that will be on display from the Society for Children’s Book Writers and Illustrators now until September 30th. It’s a fantastic show and I’m honored to have work in it. We’re going to go down tomorrow with our family and my grandparents and take it all it. There’s also a Meet the Illustrators and Family Draw Along September 17th which I know will be great.
Art History III is over for me now and it’s nice to get more drawing together. The past week I’ve been trying out new methods of adding color to my pencil drawings. This crow (we like crows in house) was based on an old photo of Fred Astaire.
I’m trying watercolor, colored pencil, and pastel over printed versions from the Artisan 1430 printer.
My new course this quarter is Life Drawing IV. It feels good to be working in traditional media again. I’m also started working with charcoal powder for the first time. It’s messy, but I really like what can be done with a light touch. I’m also seeing what a difference it makes using a fine grade of charcoal paper.
Here’s a skull that was this week’s homework. This holiday weekend I’m going to be traveling down to Monterey for the annual meeting of the Guild of Natural Science Illustrators. Looking forward to it! It’ll be my first art conference. Jack Laws is one of the keynotes. I admire both of their work.
Here’s my Ecorche final for Life Drawing III. It was challenging to work from a photograph and then imagine all the muscles underneath.
I found it helpful working with an Ecorche app on my iPad. Another helpful app is Skelly for skeletal work. If you frequently rotate the model in the app it helps get a 3D sense of where the muscles are in space.
I’m nearing the end of Life Drawing III and it’s been a great quarter, but it’s still hard to find enough time to paint. We’re working on more complex figures and also doing some ecorche drawings (they show muscles without skin) in more dynamic poses.
Yesterday I also went to my first meeting of the Puget Sound Group of Northwest Artists. It’s one of the oldest art associations in the United States. It’s an accomplished group and we learned a lot. The guest speaker is David Gray whose painting work I admire. He was very down to earth and very generous with sharing techniques and practical tips. I’ll embed a video of him painting a self-portrait. For now, I am focusing on watermedia, but I’d like explore oil. PSGart meets monthly in Kirkland.
I’m enjoy Life Drawing this quarter. We’ve been working on 3D ecorche models which show figures without skin (emphasizing musculature). An additional challenge was to draw bones in a similar position. Working on lots of these is giving me a much better three-dimensional sense of the figure.
My other course this semester is Western Civilization, so not much to show there.