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rhiannon_black) wrote2012-02-16 02:32 pm
rhiannon_black) wrote2012-02-16 02:32 pm
February sixteenth
Quote of the day: “We're each of us our own chiaroscuro, our own bit of illusion trying to emerge into something solid, something real. We've got to forgive ourselves that. I must remember to forgive myself. Because there's an awful lot of gray to work with. No one can live in the light all the time.” (A Great and Terrible Beauty, Libba Bray)
Grey day, might rain.
Hands, though washed several times, are stained with charcoal. Next thing on list to add to art kit--fingernail brush. So I'll look like a dweeb post class (don't I always though?), at least I won't look like I have the plague, or something.
Dan did a demo on Tuesday, which actually on one level was tres boring. On another level, tres instructive. Anyway, he played with charcoal, showed us the steps of a tonal drawing. I meant to prepare a sheet of paper in my sketchpad and promptly forgot when I walked out the door. Le sigh. (Dyslexic fingers--typed that out as Le gish. Though shouldn't that be La Gish?) So I had to prep a page today. Got it just a wee bit dark so had to draw it down a lot in places. He had us put the sketchpads on their sides, whoa, horizontal drawing! and scribe a rough line down the center of the page. We did two drawings, mostly trying to block in various tonal masses.
I totally blew off, as in did not register, the cast shadow, the tall, tall cast shadow, behind Aubrey for the first little while. And then some part of my brain said, hey, lookee there, a cast shadow there, behind Aubrey, I should add that. Oh, and look, a secondary, darker, shorter, cast shadow, overlapping the tall, tall cast shadow. Yeah, let's add that.
I didn't do too badly on that one. He told me to bring my, well, not highlight, at least not highest highlight, way up and lighten some of the shadow on the drape, but at least today no correction on placement of the form. Not that it was perfect but at least it wasn't glaring. And small favors are sometimes what we can be grateful for.
After he ended that pose he said, "look for the biggest masses first. I would have blocked in that cast shadow before anything else."
Sure. Now he tells us.
I'm having so much fun.
He's sent us out two more drawings--Pierre-Paul Prud'hon. We're supposed to pick one for now (though do both, eventually) and get to work. We also need to keep working of the stuff he sent us on Sunday. Hasn't even asked to look at those. Good thing, that. I've got the female figure about 3/4s done. Have not worked on either the male torsos or the feet.
He still has our sketchbooks for grading.
I'm already halfway through my current sketchbook. Yay, me!
My mediocre is at a higher plateau. Yay, me, encore!
Sandi and I have met at the An Crosaire meetings for the last two weeks. I sit in my corner and do some sketching. I'm working out my shyness, new kid cooties the way that works best for me. Sandi gads about, targeting the various people (mostly Anne Blackthorne and the soon to be former Baroness of An Crosaire, Mistress Ceridwen).
I need to make me some garb. And stuff.
I am seriously planning to collect examples of gesture in period drawings. The Robert Beverly Hale book has some wonderful examples.
Grey day, might rain.
Hands, though washed several times, are stained with charcoal. Next thing on list to add to art kit--fingernail brush. So I'll look like a dweeb post class (don't I always though?), at least I won't look like I have the plague, or something.
Dan did a demo on Tuesday, which actually on one level was tres boring. On another level, tres instructive. Anyway, he played with charcoal, showed us the steps of a tonal drawing. I meant to prepare a sheet of paper in my sketchpad and promptly forgot when I walked out the door. Le sigh. (Dyslexic fingers--typed that out as Le gish. Though shouldn't that be La Gish?) So I had to prep a page today. Got it just a wee bit dark so had to draw it down a lot in places. He had us put the sketchpads on their sides, whoa, horizontal drawing! and scribe a rough line down the center of the page. We did two drawings, mostly trying to block in various tonal masses.
I totally blew off, as in did not register, the cast shadow, the tall, tall cast shadow, behind Aubrey for the first little while. And then some part of my brain said, hey, lookee there, a cast shadow there, behind Aubrey, I should add that. Oh, and look, a secondary, darker, shorter, cast shadow, overlapping the tall, tall cast shadow. Yeah, let's add that.
I didn't do too badly on that one. He told me to bring my, well, not highlight, at least not highest highlight, way up and lighten some of the shadow on the drape, but at least today no correction on placement of the form. Not that it was perfect but at least it wasn't glaring. And small favors are sometimes what we can be grateful for.
After he ended that pose he said, "look for the biggest masses first. I would have blocked in that cast shadow before anything else."
Sure. Now he tells us.
I'm having so much fun.
He's sent us out two more drawings--Pierre-Paul Prud'hon. We're supposed to pick one for now (though do both, eventually) and get to work. We also need to keep working of the stuff he sent us on Sunday. Hasn't even asked to look at those. Good thing, that. I've got the female figure about 3/4s done. Have not worked on either the male torsos or the feet.
He still has our sketchbooks for grading.
I'm already halfway through my current sketchbook. Yay, me!
My mediocre is at a higher plateau. Yay, me, encore!
Sandi and I have met at the An Crosaire meetings for the last two weeks. I sit in my corner and do some sketching. I'm working out my shyness, new kid cooties the way that works best for me. Sandi gads about, targeting the various people (mostly Anne Blackthorne and the soon to be former Baroness of An Crosaire, Mistress Ceridwen).
I need to make me some garb. And stuff.
I am seriously planning to collect examples of gesture in period drawings. The Robert Beverly Hale book has some wonderful examples.