Learning How To Master Drawing

Friday, December 16, 2011

Ceres

Valle Cupa

Abbigliamento Zaira

Tabacchi

Anselma

Piazza Morte

Il Monestero

Il Labarinto

Trattoria 4

Kelly Murphy was the co-instructor of the 2011 trip. She's an award winning illustrator and a professor on the illustration faculties of both Montserrat College of Art and Rhode Island School of Design, her alma mater.

Source: http://drawingviterbo.blogspot.com/2011/08/kelly-murphy_6300.html

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Daily Character - Zombie Dumb

Daily Character - Zombie Dumb, originally uploaded by kevrichter.

Source: http://kevsketch.blogspot.com/2011/08/daily-character-zombie-dumb.html

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Ross

Here is a sketch from another shot, i prefer the other reference but you have to have a go, don't you?

Source: http://sketchoftheday.blogspot.com/2011/12/ross_06.html

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Painting Darks That Are Too Dark to See


Nicole at Mille Fleurs 3, acrylic painting on canvas, 48 x 30, 2010.		In the Afternoon Light, acrylic painting on canvas, 48 x 30, 2011.

Contrast is the difference between light and dark values. The human eye is able to see clearly across a contrast ratio of about 15,000 to 1 (the brightest area 15,000 times brighter than the darkest area). Paintings, by contrast, have a maximum contrast ratio said to be at most 100 to 1.

This presents a problem for painters—how to achieve the impression of natural contrasts without being able to show them directly. This problem is most urgent for painters who depict scenes lit by direct sunlight, where the brightest highlights and the darkest shadows share a composition. There is no perfect solution to this problem, but painters who invest in contrast expend a great deal of thought and effort in understanding visual cues that are interpreted unconsciously as contrast.

Victoria Selbach, a New York painter, makes lush paintings of nudes lit by sunlight. To present convincing contrasts in her acrylic paintings, she uses two related painting techniques.

In Nicole at Mille Fleurs 3, most of the figure is in direct sunlight. Selbach paints a full range of values in the lit areas, and lets the cast shadows drop to black. The eye would naturally be able to see detail in the cast shadows, but by painting them black, Victoria subliminally tells the brain, "this region is too dark to see." The brain then identifies these shadows as about 15,000 times darker than the highlights, heightening the implied contrast with the lit areas, which are nowhere near 15,000 times brighter than the blacks.

In her painting In the Afternoon Light, Ms. Selbach uses her other contrast-enhancing technique. Most of the figure is in shadow. So if Selbach had followed her "shadows = black" rule, the composition wouldn't have worked. Instead, she renders a large range of values in the shadows, and lets the lights go to white. Again, she gives the brain a strong cue for a full 15,000 to 1 contrast ratio, helping to work around the contrast limits of acrylic paint.

Notice that in the first painting, the technique gives a sense of warm, rich light and burnt shadow. In the second painting, there is a sense of cool, glowing shadows and diffuse, washing fields of light.

Selbach focuses on techniques for conveying extremely high contrast, because sunlight and shadows shown in natural light are her inspirations. She has mastered the contrast techniques described here, but many others exist. The key to discovering your personal preferences is to think about how you see what you see. Feel free to share your own tips and observations in the comments.

--Daniel

Source: http://www.artistdaily.com/blogs/oilblog/archive/2011/08/25/painting-darks-that-are-too-dark-to-see.aspx

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Thursday, December 15, 2011

Well, my day is made. I could watch Jim Woodring draw and listen...

Well, my day is made. I could watch Jim Woodring draw and listen to him talk all day long.

Source: http://blog.drawn.ca/post/13888296628

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Your Free Portrait Painting eBook--But I Didn't Get a Chance to Gift Wrap It


Ariadne by Janet Rogers, watercolor painting.

Since coming to Artist Daily, my parents are both super supportive of me and our web community. My mom does her best to get everyone she knows to join us at Artist Daily, and my dad buys me art supplies in the hopes that my drawing and painting skills will improve. Ain't he sweet? Delusional, but sweet.

Another thing my dad would love to do is have a portrait artist make a portrait painting of my brother and I as a gift for my mom. And while I'm not ready to take on any of the portrait artists out there, I know I can start learning the fundamentals with our latest eBook, How to Paint a Portrait: 38 Portrait Painting Techniques from Artist Daily. So maybe someday I'll be able to do the portrait painting that my father is pining for.


		Jimmy Cooper by John Howard Sanden, oil on canvas, 40 x 34.

If you are in the same boat--you want to learn how to paint a portrait like a professional but aren't sure of the medium you'd like to explore--How to Paint a Portrait is a great place to start. In it, Janet Rogers explores how to capture a model's gesture in a watercolor portrait. I knew I liked her style when I read a few of her tips, one of which was "keep the painting simple and don't try to say too much." Rogers also gives a few great painting tips on how to test background colors while in the process of painting.

And for oil painting lessons, none other than famed artist John Howard Sanden's paintings are used to show how a professional portrait artist works. I was especially interested to learn that Sanden uses three values of neutral mixtures on his palette, made from combinations of Permalba white, ivory black, and yellow ochre. Plus there's a step-by-step demo that Sanden does that makes the whole portraiture process seem so accessible.

Get all of these tips and techniques to add to your art instruction library by downloading your free copy of How to Paint a Portrait: 38 Portrait Painting Techniques from Artist Daily. Enjoy!

P.S. If you know someone who wants to explore portrait painting as much as you and I, pass along How to Paint a Portrait to them.

Source: http://www.artistdaily.com/blogs/artistdaily/archive/2011/12/12/your-free-portraiture-ebook-i-didn-t-get-a-chance-to-gift-wrap-it.aspx

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Tall Order: Drawing the Windows to the Soul

Click on any of the above images to see David Kassan's Drawing the Eyes . That is no small task, no doubt about it. Yet hundreds of thousands of us search every year online about how to draw eyes. Mostly, I think, because we take drawing eyes for...(read more)

Source: http://www.artistdaily.com/blogs/drawing/archive/2011/10/12/tall-order-drawing-the-windows-to-the-soul.aspx

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Drawing Viterbo book now available.

Drawing Viterbo by Fred Lynch

Source: http://drawingviterbo.blogspot.com/2011/06/drawing-viterbo-book-now-available.html

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Lately Lily�is the creative collaboration between illustrator...

Lately Lily�is the creative collaboration between illustrator Micah Player and apparel designer Erin Nichols. Using the interesting set up featuring Lily, a fictional traveling daughter of a photographer and writer for ?the world?s greatest magazine,? the site provides young girls a chance to view the world through her eyes. You get to see where she is currently, check out her traveling notebook, help her pack her suitcase, and be able to buy tee shirts featuring Lily?s striking visage. Bold colors, broad strokes, colorful design make this a fantastic site to visit for young ones. Or, for people like me, who happen to love great illustration.�

Source: http://blog.drawn.ca/post/13895177250

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Ross

Here is a sketch from another shot, i prefer the other reference but you have to have a go, don't you?

Source: http://sketchoftheday.blogspot.com/2011/12/ross_06.html

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Lily Featherston

Lily Featherston is from Dublin, New Hampshire. She's an Animation Major at Rhode Island School of Design.

Source: http://drawingviterbo.blogspot.com/2011/09/lily-featherston-is-from-dublin-new.html

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The Tate from the beach

The Tate, St Ives from the beach. While Robin and Hugo lugged canoes, deckchairs and other bits and pieces to the beach Xavier and I had fun playing with the balloons filling the sea-facing galleries by Martin Creed, (Half the air in the given space) and took part in Roman Ondak?s Measuring the Universe

Source: http://julieoakley.blogspot.com/2011/10/tate-st-ives-from-beach.html

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