Monday, April 27, 2009

Lynda



Fives and twenty-fives. It was scorching hot the day I drew Lynda, so electric fans were placed all over the workshop to keep things cool. It's not often that one gets to draw a model with her hair blowing in the wind - I had a lot of fun with that one.

Adair




Three to fifteen minutes. Trying to work more on form this term, to help me better invent figures from my imagination.

Friday, April 24, 2009

Sunday, April 12, 2009

Nicole


Eight hours. I wasn't really happy with the finish on the last painting, so I spent some time at the local coffeehouse trying to clean it up. I'm not sure if it turned out better in the end, but going through the effort to address the flaws proved to be a learning experience nonetheless. That's all I can ask for, I suppose.

It's pretty funny, I never realized just how much of Nicole's face I had memorized simply via the sheer act of painting her for four hours. I still vividly remembered the shadow patterns, abstract shapes, and relative values of areas hours after the fact, and thus was able to push and pull with confidence. It was kinda cool.

Saturday, April 11, 2009

Nicole


Four hours. More practice with the Wacom tablet. Digital painting from life has so many advantages over the traditional method - I must've moved her facial features half a dozen times to get the placement in the ballpark.

Thursday, April 09, 2009

Matthew


Three hours from life.

It's been a while since I've updated this blog.

A couple of weeks ago I went to Reverie, a symposium of art and design hosted by the folks who run the concept design outfit Massive Black and the community portal ConceptArt.org. While I didn't learn as much as I would have liked to (it's a tall order to top the quality of arts education here in Southern California), I did walk away from the experience having attained new-found respect for the caliber of the industry's top professionals, formed what I hope are lasting relationships with a handful of new artist friends, and was given thoughtful advice on where to go with my studies from here on out.

The best critique I got was from local instructor Marshall Vandruff, who diagnosed me to a "T" when he said that, while I am good at mimicking the style of others, I so far have not bothered to express my own voice in my work. He is absolutely right. The hardest transition an artist, or any creative individual for that matter, will have to make is stepping out of the shadows of his influences and developing his own signature style. Many never survive this shift. I myself am determined to.

I've got a number of ideas on how to go about doing this, but many involve working in isolation for an extended amount of time. I may not be able to update this blog as often as I have in the past, but rest assured I am not idle, just working on my personal development as best I know how. Thanks to all who've been following along - I really appreciate you sticking around so long. I'll be back shortly.

Thursday, March 26, 2009

Erin


Five hours. It never ceases to amaze me how I never am able to finish five-hour drawings yet still manage to pump out halfway-decent three-hour pieces.

Adair


Three hours, on and off. I spent most of the time at the workshop shooting the shit with Chris Sears, a fellow ConceptArt.org member and whose work I admire quite a bit. Cool cat; glad I finally got to meet him in person.

Friday, March 20, 2009

Karole


Two-and-a-half hours. I probably could have done this in less time, but I didn't measure accurately in the beginning and spent a good two sets fixing the lay-in for a better likeness (I still think I didn't nail it). Word to the wise - even if you have acutely developed eyes from years of drawing, always take the time to measure. Then when you've done that, measure again. Oh, and while you're at it, why don't you measure one last time, just for good measure.

When I drop by uninstructed workshops, I sometimes strike up a conversation with the models, and occasionally the question of what school I go to comes up. I typically give them an honest answer: I currently don't attend school on a full-time basis, primarily because I can't afford the high cost of tuition, nor am I willing to take out massive loans to fund a second education. But that response feels like a smokescreen to me, because I'm slowly realizing, with the help of sound advice from people I trust and admire, that I probably don't need school, at least in the form of a prefabricated, one-size-fits-all curriculum. I'm self-critical enough to understand what my strengths and weaknesses are, and self-motivated enough to write my own course list to address those deficiencies. In this sense, I'm undertaking a very personal sort of education - kind of like the Montessori method but applied to adults.

Of course, I could be dead wrong about this, and maybe I really do need to throw myself into a full-time commitment, but the potpourri approach I've been taking so far has been really rewarding. I mean, why settle for one good school when you can have a taste of them all?

Thursday, March 19, 2009

Speed #3


1.5 hours from reference. Colors are not even close to the original, which was my intention, because I wanted to see how much I could push temperature relationships while keeping the underlying value structure intact.