A work in progress

art blog, art process, art works in progress

Level 2 Week 5-8 October 15, 2009

Filed under: Class work — Adele @ 10:02 pm

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.

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Tuesdays (Color study)

Homework:

5 values of each of the colors in the Incamminati palette.

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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.

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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.

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Wednesdays (Structural drawing and painting)

3 hour graphite pencil study

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Thursdays and Fridays (Figure painting)

3 hour poses

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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.

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Level 2 Week 1-4 September 15, 2009

Filed under: Class work — Adele @ 12:16 am

Mondays (Portrait and figure drawing)

12 hour pose with charcoal pencil

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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:

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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):

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My work:

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Wednesdays (Structural drawing and painting)

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Instructor demo (Dan Thompson):

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My work:

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Thursdays and Fridays (Figure painting)

Instructor demo (Darren Kingsley):

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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.

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3 hour poses

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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.

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My work:

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Level 1 Semester 2 Week 17, 18, 19, 20 June 2, 2009

Filed under: Class work — Adele @ 8:38 pm

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Level 1 Semester 2 Week 15 and 16 May 20, 2009

Filed under: Class work — Adele @ 9:49 pm

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Level 1 Semester 2 week 13 and 14 May 7, 2009

Filed under: Class work — Adele @ 12:15 am

Mondays (Cast drawing, Figure drawing)

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Tuesdays (Still life)

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Wednesdays and Thursdays (Figure drawing)

9 hour pose

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Wednesday afternoons (Color studies)

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Fridays (Open grisaille)

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Level 1 Semester 2 week 11 and 12 April 27, 2009

Filed under: Class work — Adele @ 12:23 am

Mondays (Cast drawing, Figure drawing)

Day 2 of 3 day pose

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Tuesdays (Still life)

3 day set up

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Wednesday afternoons (Color studies)

Color study objectives

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Instructor demo (Leona Shanks):

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My work:

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Thursdays (Figure drawing)

1 day poses

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Fridays (Open grisaille)

3 hour pose with 5 values (3 values in the light, 2 values in the shadows)

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Level 1 Semester 2 Week 9 and 10 April 2, 2009

Filed under: Class work — Adele @ 1:22 am

Mondays (Cast drawing, Figure drawing)

3 day studies

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Tuesdays (Still life)

3 day set up

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1/2 day poses

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Fridays (Open grisaille)

1 hour poses

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Level 1 Semester 2 Week 7 and 8 April 2, 2009

Filed under: Class work — Adele @ 12:38 am

Tuesdays (Still life)

Day 3 of 3 day set up

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Wednesday and Thursdays (Figure drawing)

20 minute value studies

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20 minute head studies

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Fridays (Open grisaille)

1 hour study

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Level 1 Semester 2 Week 5 and 6 April 2, 2009

Filed under: Class work — Adele @ 12:24 am

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Level 1 Semester 2 week 3 and 4 February 23, 2009

Filed under: Class work — Adele @ 1:48 am

Mondays (Cast drawing, Figure drawing)

Drawing ellipses. In perspective and in the picture plane, an ellipse will always touch the mid-point of each side of the rectangle within which it is inscribed.

Instructor demo (John DeMartin):

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My work:

Cube review and ellipse practice.

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Figure drawing instructor demo (John DeMartin):

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Tuesdays (Still life)

Day 1 of a 3 day set up

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Wednesdays, Thursdays (Figure drawing)

2 hour pose, photos represent 20 minute increments

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2 hour pose

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Week 3 in Kerry Dunn’s figure class we started with 20 minute value studies, relating the big regions of value, less concerned with drawing accuracy so we could learn how to organize procedurally massing in the value relationships. We started with 2 shadow values and 3 or 4 light values. We then progressed to longer poses.

Instructor demo (Kerry Dunn):

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My work:

20 minute value studies

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1 hour 40 minute pose, photos represent 20 minute intervals

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1 hour value study (with preliminary thumbnail sketch)

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Fridays (Open grisaille)

1 minute gestures, 5-20 minute block-in/wipe-outs

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