If you’re coming here, please update your bookmarks to cashwiley.com (this is cashwiley.wordpress.com), as I’ve moved off the wordpress.com servers.
I’ve used them since they were in beta for image hosting. They decided that they only want to do document sharing and not image hosting, so….all the images from my blog (and pretty much everywhere on the Internet I’ve posted for years) are now dead links.
Thanks, Dropbox. Glad I gave you years of positive word-of-mouth. Decorum dictates I edit out my actual feelings right now.
It’s such an entirely monumental task to rebuild this blog, I’m not sure I can do it. So many years of WIPs and finished stuff, going back to 2012, all done now. On the whim of an Internet company.
Last night when I got home from figure drawing, I transferred my portrait sketch over to canvas using the method previously explained. I then went over the sketch with some thinned umber and blocked in the shadows, also in thinned umber.
Tonight in class, the instructor took a different direction and we went directly to local color lay-in, or ‘dead color’. I think this is because this class is a little slower than the previous and she doesn’t want people to fall too far behind. The full process does take a loooong time, I chuckle when people think 36 hours is a long time to complete these portraits. Nobody finishes. I was the only one who had done the transfer, so I was able to start directly with local color – the first time I’ve been neck and neck with the instructor on painting phase…and we both finished local color. It’s not a race, but it’s nice to know I’m getting faster without sacrificing quality.
I got a compliment from the instructor on my color mixing, have to say I was pretty happy overall. All that reading on color theory really builds a good foundation! Also put my new pochade box palette into use, it was awesome mixing on glass. I tried to emulate the instructor’s mixing habits (which I’ve been watching all along and asking tons of questions), so I made basic local colors but was a bit freer with my technique. I had a much better feel for the consistency of the paint and mixed on the fly a lot more, which led to some more interesting things, even in local color. Excited to push that further with later stages! Also reduced the amount of brushes I used to basically three (light/dark/detail) and let some mixing happen organically. The instructor has a real nice touch on the canvas and all that plays into it.
Here’s last week’s sketchbook digest. I took the weekend off to get a break before classes this week, so it’s a bit thinner than usual. Started with more anatomy from the Winslow book, the first two are graphite, Prismacolor and white Conte on toned paper, 5.5 x 8.5:
And a few rectus abdominis studies, graphite on paper, 9×12:
Only one comic book copy this week, a request by Matbar (who is the proud new owner of it already!), a Marc Silvestri copy. Graphite on paper, 5.5 x 8.5:
Tonight…portraiture class, part III!
Epic sketchbook digest! Turns out if you draw more, you end up with more drawings! I was able to draw every day this week, with a mulligan on Saturday for reasons.
Started out with a couple skull studies from Valerie Winslow’s excellent Classic Human Anatomy. Still using my HB graphite pencil, but I drew on toned paper and added some white conte pencil.
Then I switched gears to Patrick Jones’ stylish The Anatomy of Style for a couple head construction studies. I’d love to attend one of his workshops, because I got a bit confused trying to follow the text. Still, a great method lurks in these and I plan on revisiting often.
And then back to Winslow for some musculature study. Again with the HB graphite pencil on toned paper, adding white and sanguine conte. The sanguine wiped out most of the underdrawing, so I ended up drawing this four times over. Great for learning…but I just wanted to go to bed!
I’m really happy with this week’s sketchbook entries overall. I finally feel like I’m making some solid progress after 11 months of plugging away. Such a huge mistake to have not drawn over the summer, I won’t be making that mistake again!
Not sure what was going on tonight, unfinished drawings and poor compositions. Each of these was almost an hour, should’ve had time to finish! Going to have to make some independent study to improve my composition, we just kind of choose at random. Modern art teachers.
I like a few spots in each, and the idea overall, so I should revisit this in the studio soon…
I’m going to try a weekly digest of sketchbook images, so I don’t flood the blog with unfinished/study stuff. I’ll be posting more often to Facebook during the week, because it’s a spammy platform and it can use more art these days.
Not a lot to start with this week, but I’m hoping that seeing my weekly sketchbook output in a digest will help motivate me to put more into my studies!
Some cartilage studies show previously, copied from Winslow’s excellent book. HB graphite pencil.
A casual sketch of Morte, my 1:1 skull. Also HB graphite pencil.
Thanks to Mori for continuing inspiration on putting pencil to paper daily!
Tonight we were supposed to do another pure tonal drawing with three tones, but the lack of underdrawing in the one from last week bugged me too much (and she’s a bit less strict with students repeating the class!). So I did an underdrawing, but the added time for that detracted from (once again) finishing a drawing.
Overall a fun drawing. Wish I had time to finish, but hey. I estimate it would take me around two hours to actually finish a charcoal still life to a decent standard.
Conte on charcoal-toned bristol, 18×24.
Bringing a 3rd value in, things start to look better. Still an unfinished quick drawing at maybe 40 minutes, with some time spent talking and looking at what the other students were up to. Seriously, about a third of this was done in the last 3 or 4 minutes just to have tone across the whole pic, the background, upper right pot, top of the lower right can, the table cloth and edge…yikes!
Conte on a charcoal toned ground, 18×24 bristol paper.
I pulled out Seza to get cracking on her and noticed a couple mold lines I missed. I probably should’ve just scraped them down, but I had to smooth a few spots anyway, so I tried using brush-on sealer to cover the lines. It worked pretty well, but took many coats. So I was putting on a coat and playing some Hendrix while it dried…
Then I base coated the skin and started to base some of the darker parts. This one is going to take a while, she’s a big’un.