Dit jaar zet ik enkele oudere projecten online.
Acrylics - Let's try and see how far we get.
My first thoughts? It's almost as if I don't have the vocabulary of painting, the abstractions or brushwork. I don't know how to indicate shapes in paint.
Also, I've looked at some drawings by Anders Zorn, after painting it becomes very obvious he's 'drawing' with value rather than line. His work makes much more sense now.
Wie uit zichzelf leert heeft niet de luxe van een studie-traject, zoals je dat op school kent. [...] Lees verder →
Schilderen rust op het tekenen, mooie kleuren op een warrige tekening? dat werkt natuurlijk niet.
Helemaal bij! Done with older work. All of these acrylics are new.
Value Drawing - The Key to Realism
Solid introduction to drawing value scales here:
Somewhere vilppu mentioned this very clever trick: Imagine your ribcage as a sphere and your hips as a square, this will show you how to draw twists in the body.
Similar article here: How to Simplify the Motion of the Torso
Vilppus box forms
Use box shapes to build on your gesture drawings, place forms in 3d space and help "clarify the action of the figure that we are drawing"
I've discovered renewed interest in drawing, from the beginning:
How to hold the pencil, How to sharpen, measuring, making straight lines. In drawing demonstrations; like Vilppu's youtube-videos, look at how he holds the pencil. These things are not obvious.
Improvised drawing easel
There are creative alternatives if you don't have an easel to work at. Tape your drawing to a large closet or door, the wall if you want. I've been using a drawing board: clip your paper to a wooden board and lean it against your desk.
The dexterity exercises from Peter Han's dynamic sketching, but done standing. Tiring! simple things like point to point / warming up becomes difficult again.
Drawing standing up allows for a greater range of motion. Draw from your whole arm, not just your wrist, this gives you more freedom to work and it'll be easier to get large flowing lines.
VHS Lecture Video Clip
A short clip from Glenn Vilppu's lecture. Gestures are the most important foundation lesson on how to get a drawing started properly.
The line you can draw through the shoulders is often mirrored in the line through the hips creating a < or a > shape.
Inktober 2016, Some drawings are from a book: Frank Lohan - Pen & Ink techniques.
Only a few dollars and you can draw as if you have a very expensive fountain pen. These nibs produce fine lines, high flexibility.
The Best Way to Learn Something? Make a Lot of Pots.
this is awful, while looking through old files, found the same words like these that you are reading now: i've tried to learn how to draw before too. 2014, 2016.
why would this time be any different?
was as serious then as I am now
Best to set aside any pride & accept where I am (not great),
I’m starting over, again, from the beginning.
The fool who persists in his folly will become wise.
Sketchbooks are fun to look back on, motivating to see how you’ve improved.
This is the reason why you should even keep a blog. It's funny, because right now, it’s more like showing you
that if you don’t practice
you don’t improve
After some time away from studies, getting back on track is going to be a bit tricky.
it's time to re-evaluate; what I was working on before, to see what's important now still, and then from there it will be easier to figure out what steps to take next.
Putting older work online
will hopefully motivate me to drown it in new, better work.
From this point on I'd like to share interesting or helpful things found on the internet too.
You'll recognise External links by the little border under the pin, blue links click you outside of this page.
The Cowboy Hávamál, The wisdom of Odin, in the voice of the Old West.
Afgietselwerkplaats, Museum of Art and History Brussels.
From the blog of James Gurney:
Most art schools once had large plaster cast collections, but many destroyed them in the wanton orgy of iconoclasm of the 1950s, 60s and 70s. The cast collection belonging to Vassar College in New York State (seen intact above) was a typical sad story. The director of the Art program, Agnes Clafin, ordered the destruction of the collection in the 1940s arguing that casts were no longer useful in teaching, and that “this was a time to innovate, to bring Vassar up to speed.” Only a few casts at Vassar escaped annihilation.