Reading is essential for unlocking creativity in your art work.

Here is a great video that explains how essential reading is for unlocking creativity in you art work.

Anatomy practice in oil

I've been reviewing and taking notes on a lot of the old masters drawings. I find them to be an intriguing glimpse into the mind of the artist. There is also a wealth of anatomy to learn from them as well.  Now what I really need to do is start copying  them for the practice.

Here is a arm I did a quick free hand drawing of in oil. I don’t think the drawing came out that good and I didn't even fit it all on the canvas.LOL....,but I did figure out some tricks for constructing  muscles in oil .

Skull Oil Painting

I finely got around to doing a oil painting sketch, using the LWW Plastic Human Skull ( Numbered-A21),  I got from the Anatomical Chart Company.

Self Portrait Practice, using a Mirror

Using a mirror I did this self portrait last night, as this was only drawing practice for me, I did it on a Fredrix medium texture canvas pad with burnt sienna oil paint.

 Although I have a long way to go with anatomy and aligning the facial features correctly, I have become more aware of all the shapes, angles, shadows and highlights that make up the face.

 I think this is the next best form of drawing practice from a life, when a live model isn’t available, and I will continue to practice using the mirror.

 I do have one tip to give, mark the floor with blue masking tape so you stand in the same spot, because nothings worse than a model who won’t stand still !

This is the way I like to draw....with my paint brushes and a rag.

Ok, now this is the way I like to draw....with my paint brushes and a rag. I start with a toned canvas and pull out the lights....its that simple, no line drawing required. I start loosely at first with the big shapes and gradually get to the details. Using a photo of John Maler Collier’s painting titled Lady Godiva as a reference. This under painting sketch took me about five hours to do. 

For some reason I have much more control over shading and highlights with this method apposed to drawing over charcoal. 

Anatomy drawing at the kitchen table...

I've been practicing anatomy drawing at the kitchen table, by copying pictures from the book Anatomy for the Artist by Jeno Barcsay

Professor Barcsay (1900-1988), who taught applied anatomy at the Budapest Academy of Fine Arts, offers a detailed portrayal of the human body for the fine artist in 142 full-page plates, illustrating magnificently a subject that has fascinated artists for centuries. It contains anatomical terms, details of the skeleton, joints, form and function of muscles, bones of the upper limb, joints and movements of the bones of the upper limb, the form of the arm in general, muscles of the upper limb, muscular system of the upper limb and its function, similarly for the lower limb the trunk plus muscles of the neck, the neck in movement, the bones of the skull, connections and movements of the skull bones, the facial angle, articulations and movements of the spinal column and the skull, muscles of the head, eye, mouth, nose and ear, proportion of the parts of the body, osseous and muscular system of the human body, proportional differences of the male and female body, female breast, the centre of gravity, contrapposto, movements, simple delineations of movements.

  

Drawing from life is one of the most rewarding things for an artist and it merits more respect then working from photos. Because it’s a hell of a lot harder !

So I’ve put down the paint brushes and picked up the charcoal for a while, and I have to say ...I really miss my paint brushes!!!! 

The life drawing class that I‘ve been taking are great, the instructor has been very helpful and supportive as well as the other students, who all have a high level of talent. I’m learning a lot but the traditional method of line drawing seems to be a problem for me, along with foreshortening. 

I’ve already spent many years drawing with my paint brushes, and it’s hard to teach an old dog new tricks but I’m trying.

Just for the record I’m reluctantly posting these life sketches because I think they suck. Soon I’ll post a  John Maler Collier painting I started working on from a photograph which will clearly show my dilemma between drawing from life and drawing from photos.

Drawing from life is one of the most rewarding things for an artist and it merits more respect then working from photos. Because it’s a hell of a lot harder !

Getting the White Right by Robert Gamblin

The most important color choice we make is the white we bring to our work.

The white we choose determines to a great degree what our experience of painting will be: how our colors will tint and mix, how they will feel under the brush or knife, and how opaque our paint layers will be.

There are important differences between whites. For example, Titanium White has an opacity and tint strength that influences color like no other. Being the best-known white does not make Titanium White the right choice for every artist. You might prefer a white that's more subtle in mixtures.

When I first started making color in my studio I began by making whites, there were three at the beginning. Over the last 30 years, we've expanded and refined our selection of whites. We now have seven to serve your needs across the spectrum of artistic possibilities.  More

 From left: Titanium White, Radiant White, Titanium Zinc White, Quick Dry White, Flake White Replacement, FastMatte Titanium White, Zinc White.