Tuesdays (C0lor study)
Thursdays and Fridays (Figure painting)
Level 2 Week 9-12 November 18, 2009
Mondays (Figure and portrait drawing)
Wednesdays (Structural Drawing)
Instructor demos (Dan Thompson):
Facial features
The nose is the keystone of the face. If it is too long or short, the rest of the features will be affected. The ear and nose relationship indicates the postition of the head.
The ear is the pivotal point in drawing the head. The sternal mastoid, jaw bone, parietal can all be located off this point.
The eye is a visual vortex – the lines of the face swirl into it.
2 day pose
4 day pose
Instructor demo (Dan Thompson):
Goals for a 5 day pose
1. Action, proportion, shape: use plumb lines, triangulation, abstract division between light and dark
2. 5 tones generally from landmarks. (False value, darkest dark, darken false value in relationship to darkest dark, general light value, lightest lights erased, then darkest lights)
3. Tones turn into surface form and the range is spread further.
My work:
Thursdays and Fridays (Figure painting)
Fridays (Cast painting)
“Paint to communicate to the viewer the form of the object. Sometimes you have to exaggerate and push the values further than what you see, especially in an artificial lighting scenario where the close proximity washes out and flattens the light.” – Darren Kingsley
Level 2 Week 5-8 October 15, 2009
Mondays (Portrait and figure drawing)
These are 3 day poses with charcoal pencil. I feel my early stages are very awkward and I am currently struggling with the materials.
Tuesdays (Color study)
Homework:
5 values of each of the colors in the Incamminati palette.
I found that my color studies are staying more vibrant, intense with saturation, keeping the effect of light now that I keep this taped to my easel for reference.
In figure color studies we did an exercise for an hour and a half under our standard artificial lighting, then a second study of the same pose with a blue color gel covering the light.
It’s more important to capture the temperature of the light than the local color.
Wednesdays (Structural drawing and painting)
3 hour graphite pencil study
Thursdays and Fridays (Figure painting)
3 hour poses
Fridays (Cast painting)
2nd pass with the underpainting, this time hitting the lightest values with the white and the darkest values with the ivory black/burnt umber mixture.
Level 2 Week 1-4 September 15, 2009
Mondays (Portrait and figure drawing)
12 hour pose with charcoal pencil
Tuesdays (Color study)
Light allows us to see. Color on two different objects is more similar between the lit sides of the objects than an object’s lit side compared to its own shadow. The darkest light should always be lighter than the lightest shadow.
You can’t copy nature, but you can manipulate color and value relationships to mimic the visual experience. Go after the EFFECT of the light.
In choosing a composition, pick a well lit object with clear dark and light sides, not a set up that is mostly in raking light.
Have a goal when doing your color studies! If you know you struggle with painting a cool object in warm light, purposefully set up your still life to reflect your learning objectives.
Start with the easiest color to see that is in the light and the color you think would be easiest to mix. Calibrate to the colors in the light first. Go for the lightest value if possible so you know the upper limit of the palette.
PAY ATTENTION to what you are doing! Observe the process. Observe the result.
Color palette:
Burnt Sienna, Alizarine Crimson, Permanent Rose, Perylene Red, Cadmium Red Deep, Cadmium Red, Cadmium Scarlet, Cadmium Orange, Indian Yellow, Raw Sienna, Cadmium Yellow, Cadmium Yellow Pale, Cadmium Green Pale, Cadmium Green, Viridian, Phthalo Green, Phthalo Turquoise, Cerulean Blue, Cobalt Blue, Ultramarine Blue, Dioxazine Purple, Quinacridone Violet, Titanium White
Instructor demo (JaFang Lu):
My work:
Wednesdays (Structural drawing and painting)
Instructor demo (Dan Thompson):
My work:
Thursdays and Fridays (Figure painting)
Instructor demo (Darren Kingsley):
My work:
Each 1 hour poses. We are learning to calibrate values relative to one another.
Start by laying in basic values, then adjust relative to each other on the canvas. These studies are concerned about relativity and effect. Start with shadow relationships first.
3 hour poses
Fridays (Cast painting)
Instructor demo (Darren Kingsley):
First draw the cast as accurately and life size as possible with straight lines delineating the light from the shadow. When it is ready to be transferred, trace the line drawing onto tracing paper or acetate with a fine point marker. Then sandwich the canvas, transfer paper, and traced drawing. Redraw over the tracing until it is transferred onto the canvas. Paint a thin first layer with burnt umber, mars black 1:2 mixture and titanium white. Use 2-3 values for the shadows and 2-3 values for the light areas. This is just an underpainting, so the values are preliminary and will be corrected as the painting progresses.
My work:
Level 1 Semester 2 week 13 and 14 May 7, 2009
Mondays (Cast drawing, Figure drawing)
Tuesdays (Still life)
Wednesdays and Thursdays (Figure drawing)
9 hour pose
Wednesday afternoons (Color studies)
Fridays (Open grisaille)
Level 1 Semester 2 week 11 and 12 April 27, 2009
Mondays (Cast drawing, Figure drawing)
Day 2 of 3 day pose
Tuesdays (Still life)
3 day set up
Wednesday afternoons (Color studies)
Color study objectives
Instructor demo (Leona Shanks):
My work:
Thursdays (Figure drawing)
1 day poses
Fridays (Open grisaille)
3 hour pose with 5 values (3 values in the light, 2 values in the shadows)
Level 1 Semester 2 Week 9 and 10 April 2, 2009
Mondays (Cast drawing, Figure drawing)
3 day studies
Tuesdays (Still life)
3 day set up
1/2 day poses
Fridays (Open grisaille)
1 hour poses
Level 1 Semester 2 Week 7 and 8 April 2, 2009
Tuesdays (Still life)
Day 3 of 3 day set up
Wednesday and Thursdays (Figure drawing)
20 minute value studies
20 minute head studies
Fridays (Open grisaille)
1 hour study
