Wednesday, August 30, 2017

Sherry Sander



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Sherry Sander
// Deja View




I love great animal sculptures.
Especially when there is movement involved, or when the pose reveals the animal's character.
Sherry Sander is an American sculptor who has high standards and emerges through the often uninspired scene of midwestern wildlife art. There is a raw quality to her work that reminds me of Rodin and the great Rembrandt Bugatti. Sander travelled all over the world to study animals, and it is that research that gives her sculptures a beautiful sense of authenticity.

Here is the link to her website:

http://www.sherrysanderstudio.com












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Friday, August 25, 2017

Hips Tutorial by bokuman Support the artist on Patreon!



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Don't forget the second step



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Don't forget the second step
// Seth Godin's Blog on marketing, tribes and respect

The first step is learning how to do it. Finding and obtaining the insight and the tools and the techniques you need. Understanding how it works.

But step two is easily overlooked. Step two is turning it into a habit. Committing to the practice. Showing up and doing it again and again until you're good at it, and until it's part of who you are and what you do.

Most education, most hardware stores, most technology purchases, most doctor visits, most textbooks are about the first step. What a shame that we don't invest just a little more to turn the work into a habit.

       

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Raphael’s Drawings at the Ashmolean Museum, Oxford



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Raphael's Drawings at the Ashmolean Museum, Oxford
// Black Gate

23. Two Apostles (c) Ashmolean Museum, University of Oxford

The heads and hands of two apostles, c. 1519–20.
Black chalk with over-pounced underdrawing
with some white heightening.

One of the highlights of my regular stays in Oxford is visiting the Ashmolean Museum. With its fine collections of all periods, especially Medieval Europe and Ancient Egypt, it's a place I and my family keep going back to. It also has excellent special exhibitions. I wrote up last summer's exhibition on Underwater Archaeology for Black Gate, and this year we got to enjoy the treat of studying some little-seen drawings of an Italian Renaissance master.

Raphael: The Drawings brings together 120 rarely seen works by the Italian master, including 50 from the Ashmolean's collection, the largest and most important group of Raphael drawings in the world. They came to the museum in 1845 following a public appeal to acquire them after the dispersal of the collection of the portrait painter Sir Thomas Lawrence (1769–1830), who had amassed an unrivalled collection of Old Master drawings. A further 25 works are on loan from the Albertina Museum in Vienna, which will show the exhibition in autumn 2017. The remaining drawings come from various international collections.

The Three Graces

Study for the Three Graces, c. 1517–18 Red chalk over
some blind stylus. © The Royal Collection Trust,
HM Queen Elizabeth II.

The drawings range in date from Raphael's early career in Umbria through his radically creative years in Florence to the apex of his career in Rome, working on major projects such as the Vatican frescoes.

I must admit that as a non-artist much of the subtlety of this exhibition was lost on me. I could only gape at the detail of the lines and the almost magical effect of some of the techniques he used to create shading and light. One of the things I found interesting was how his drawings often had more detail and more refined techniques than his finished paintings, such as the details of the drapery on the Madonna in the Studies for the Madonna of Francis I (c. 1518).

19. Madonna of Francis I (c) Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence

Studies for the Madonna of Francis I, c. 1518 Red chalk
over blind stylus. 
© Gallerie degli Uffizi, Gabinetto
dei Disegni e delle Stampe, Florence.

The_Holy_Family_-_Rafael

The final painting that same year. Much of the work was
possibly done by his workshop assistants and not Raphael
himself. Image courtesy Wikimedia Commons.

15. Putto (c) Teylers Museum, Haarlem

Putto holding the Medici Ring, c. 1513–14 Black chalk with
white heightening, later framing lines in black chalk.
© Teylers Museum, Haarlem.

Raphael used a variety of media including charcoal, earthy chalks, ink, and metalpoint. The exhibition includes a small display of these tools for those of us who can't draw a straight line. I finally found out what gum arabic looks like and what it's used for. It had always been one of those terms I occasionally heard but had never bothered looking up.

Raphael himself realized that his drawings were more than mere preliminary sketches. He knew they had artistic value in their own right and presented them to such prestigious figures such as Duke Alfonso d'Este and Albrecht Dürer. We're lucky he did, and we're lucky the recipients realized the value of these drawings too and preserved them.

Raphael: The Drawings runs to September 3.

11. Mother & child (c) Ashmolean Museum, University of Oxford

A seated mother embracing her child, c. 1512 Metalpoint with white
heightening on grey prepared paper, selectively indented for transfer

1. Youth (c) Ashmolean Museum, University of Oxford

Portrait of a youth (self-portrait?), c. 1500–1 Black chalk
on white heightening, now largely lost.

Images copyright The Ashmolean Museum, University of Oxford, unless otherwise noted.


Sean McLachlan is the author of the historical fantasy novel A Fine Likeness, set in Civil War Missouri, and several other titles, including his post-apocalyptic series Toxic World that starts with the novel Radio Hope. His historical fantasy novella The Quintessence of Absence, was published by Black Gate. Find out more about him on his blog and Amazon author's page.


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SHe’s not there, Kent Williams



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Wednesday, August 23, 2017

Five Tips to Drawing the Figure



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Five Tips to Drawing the Figure
// Artist's Network

Figure drawings and sketches by Ilya Repin.

Figure drawings and sketches by Ilya Repin. Article contributions from Mark Gottsegen and Bill Tilton

Easy Ways of Making Figure Drawings

When you get comfortable creating figure drawings or sketchings, you watch your whole world change. Every person — waiting in line in front of you, sitting at a table across from you at a cafe, on the bus or passing you on the sidewalk — is a figure waiting to be captured in your sketchbook. To put you at ease and in the rhythm, so you can start to fill up page upon page with sketches, here are five tips you will want to learn about simplifying the shapes of the parts of the body. From there, you'll find every figure much easier to draw.

Hands Off

Use your non-drawing hand as a model to practice creating gesture sketches. You can also use an ordinary mitten as a model to capture the essential mass of the hand. Try drawing the mitten in a number of positions, then divide this mass into four fingers.

Out on a Limb

Practice drawing the basic arm and leg structures by thinking of them as cylinders. Initially, ignore any details that change with your viewing angle. Drawing from life is always the best approach, but if you don't have a model handy, try substituting sections of PVC pipe, straws connected by modeling clay or pipe cleaners.

Sketch by Linda Capello

Sketch by Linda Capello

Body Art

Use the peanut shape to quickly construct a human or animal figure in any position. Then simply refine this basic shape with details. To better capture this shape, try making a model out of foam rubber, clay or another pliable substance. This model can be twisted or bent into any position for drawing.

Happy Feet

To get the basic form and positioning for feet, draw them as a three-dimensional, rectangular form similar to a brick. Practice drawing them in perspective and in a variety of positions.

Get Ahead

Initially, avoid getting enmeshed in the features and other details of the head. Instead, practice representing the head using a ball for the main portion of the skull and a bucket shape for the jaw.

When you find yourself doing this automatically, begin lightly indicating the shape and position of the nose, eyes and ears.

Once these are in place, draw the nose more definitely and add the mouth, relating its size and placement to the bottom of the nose and the bottom of the chin.

Next, add the eyes, relating them to the width of the mouth. Finally, sketch the ears, using the eyes and nose to gauge the proper size and position.

The Best Way Forward

Spend 10 minutes sketching people passing by. Then the next time make it 15 minutes. Then 20. Start tacking on the minutes but the consistent rule is don't stop. Fill the page! And then another! Soon the figure drawings will flow, especially if you couple that sketchbook time with all the lessons and fun exercises Brent Eviston teaches you in Figure Drawing Essentials: Getting Started with Gesture & Shape. Get Figure Drawing Essentials now and enjoy!

Show off what you've done by tagging your work #artistsnetwork! We are excited to see what you've been working on in the studio and in the pages of your sketchbook!

Courtney

The post Five Tips to Drawing the Figure appeared first on Artist's Network.


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Figure Drawing Basics: Costumes, Clothes or Nothing At All



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Figure Drawing Basics: Costumes, Clothes or Nothing At All
// Artist Daily

To Clothe or Not to Clothe in Figure Drawing?

Figure drawing by Steven Assael.
Figure drawing by Steven Assael.

We all know that drawing the nude figure is a, if not the, classical way of depicting the human body. You gain so much from those kind of explorations — a sense of gesture, a foundation for drawing anatomy, and a close study of bodily proportions, which are crucial for establishing realism in any figurative representation.

But breaking the mold and adding clothing to your figure drawing art can lead to quite a few benefits. You are able to add intrigue to a line drawing or drama to a contour drawing and contribute to the overall message of the piece. It really just gives you a bigger visual vocabulary to work with.

Why Clothing can Lead to Better Figure Drawubgs

Figure Drawing Basics: Costume, Clothing or Nothing At All | Deciding Whether a Model Should be Clothed or Nude in Figure Drawing | Artist Daily
Julie Seated with Hands Clasped by Steven Assael, 2007, drawing, 22 x 15.5.

Artist Steven Assael, for example, often creates works with figures in constricting or tight-fitting clothing. He does this as a way to parallel or visually represent the psychological complexities and internal conflicts within everyone.

Other times clothing can exaggerate the gesture and movement of a body. A swirling cape can give more force and power to a figure in a street scene, for example. You get a sense of atmosphere that might otherwise be missing without the garment.

Clothing can also link a figure drawing to a culture or a time and place. If you are interested in drawings from the past with a more historical bent, or for the future, clothing can enable you to achieve your ends. Adding clothes can make a narrative element clearer to your viewer than a figure whose attire doesn't lend itself to a specific context.

However, always remember the gesture and facial features or body position of a figure drawing are really what will make it successful and articulate, not just the clothing worn.

So many of us find both challenges and rewards when drawing people, which is why Drawing People for the Absolute Beginner is a resource that will never gather dust on my bookshelf. It is a foundational manual for anyone who wants to approach figure drawing and drawing people in an easily understood but comprehensive way.

Get Started with Gesture

As one of the most challenging, but exciting, art experiences to engage in, figure drawing takes a lot of practice. Below is a preview of Figure Drawing Essentials: Getting Started with Gesture and Shape. In this trailer, you'll learn quick tips for capturing gesture and shapes in figure drawings.

Like what you see? You can find the full-length video demonstration on ArtistsNetwork.tv to master fundamental tools and techniques for developing a strong foundation in figure drawing. Enjoy!

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The post Figure Drawing Basics: Costumes, Clothes or Nothing At All appeared first on ArtistDaily.


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