Four-and-a-half hours. 11" x 14" on canvas. I have another portrait painting of Malo from my Thursday night class with Ignat, but you're not gonna see it, because it didn't turn out nearly as well as this one.
sweet! I admire your dedication towards traditional painting. one of these days, I'll sign up for a class and take a stab at it. you got any intro classes you'd recommend?
I've taken classes with three instructors: Richard Morris, Sean Cheetham, and Ignat Ignatov. Of the three, I think the only one who will be teaching painting courses in the fall is Sean Cheetham (over at 3 Kicks Fine Art Studio). I learned quite a bit from all of them.
My honest suggestion would be to just jump right in with some monochromatic studies, so you can gain experience with handling a new medium and tools. You can either use burnt umber by itself and pick out the whites with q-tips and rags, or go with ivory black and titanium white to mix the greys in between.
The artists I look up to the most all have an incredibly strong foundation in the traditional arts. I am thoroughly convinced that this is a key factor to their success. That's why I've chosen to focus so much attention to it.
Besides that though, it's really just a pleasure to paint.
2 comments:
sweet! I admire your dedication towards traditional painting. one of these days, I'll sign up for a class and take a stab at it. you got any intro classes you'd recommend?
-carl
kidfrodo.com - my sketchblog
carl,
I've taken classes with three instructors: Richard Morris, Sean Cheetham, and Ignat Ignatov. Of the three, I think the only one who will be teaching painting courses in the fall is Sean Cheetham (over at 3 Kicks Fine Art Studio). I learned quite a bit from all of them.
My honest suggestion would be to just jump right in with some monochromatic studies, so you can gain experience with handling a new medium and tools. You can either use burnt umber by itself and pick out the whites with q-tips and rags, or go with ivory black and titanium white to mix the greys in between.
The artists I look up to the most all have an incredibly strong foundation in the traditional arts. I am thoroughly convinced that this is a key factor to their success. That's why I've chosen to focus so much attention to it.
Besides that though, it's really just a pleasure to paint.
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