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2011 yearly archive

Our big project in perspective class this semester was to design an ideal art studio for somewhere in the neighborhood of $2 million. That will buy a lot of chocolates and enormous chairs, but I wanted to make something pretty cool to put them in as well.

I’ve always had a thing for houses made out of converted buildings. I heard once about this decommissioned nuclear missile silo that someone converted into a house, the star feature being the 20 ton silo cover door which could be opened in less than 10 seconds with the aid of several rockets.

Missile silos are pretty cool, but an art studio needs light and silos a more of a subterranean affair. When you need windows there’s only one way to go. Gothic churches.

I’ve seen a few churches converted into houses as well, but most are smaller country churches and I wanted something big and stony like churches are meant to be. Here’s the basic layout I came up with:

The section to the far left, what the cathedral folks would call the narthex, is 2 stories with an entrance hall and some small rooms on the bottom, and then a large open office on top with 20 foot celling. The middle section, the nave, is large and open with a split level staircase to the 1st and 2nd floors. On the far end where the apse and alter would have been is closed off to form a library and reading room. Pretty swanky huh?

Here’s a measured floorplan I drew up in sketchup. You’ll see by the measurements that this is pretty small for a gothic church. We call that Bijou in the real estate biz.

Drawing this thing in perspective was a bit of a challenge. I did quite a few studies. Here was a first attempt based on the sketches above:

And here is a study of the staircase:

One of the techniques we studied in class is called a plan projection. It’s a process where by you can plot out your perspective drawing from a measured floorplan and elevation so that you know everything is precisely the correct size and location in perspective. It’s a time consuming process but it works like a charm. In order to do the projection I needed an elevation to go with my floor plan above, so I made this rough model in sketchup:

Once you get these two as guides, you line everything up on a drawing table along with your drawing paper. My setup looked like this:

And here’s my first attempt at the drawing:

Not too shabby, but I decided I wasn’t completely happy with the angle on things, so I started over. Here was the final result:

 

I decided to try coloring it a bit in photoshop as well. If you look carefully, there are 3 cats hidden in the picture. You can see 2 of them in the detail above.

Along with the overall view I also did a shot from the interior. This time I decided to forego the plan projection and just do the drawing on my own measurement. I settled on a shot looking at my work desk up there on the second floor in the extreme left of the drawing above.

This drawing had a lot of overlapping elements so I actually used 4 sheets of paper overlaid on one another to keep all the parts separated. Here’s what that mess looked like:

You can see all the construction lines I used to plot everything out. A good example is that circle floating in the middle of the page. That’s how I mapped out where each of the 5 legs of the chair base should go.

Here’s how it looks all cleaned up:

I got a little carried away in this one and added some subtle shadows.

Just a quick note. This post originally appeared on a collaborative blog some of my TAD buddies and I are trying to get going. Things are still in the early stages but hopefully we’ll have a lot of interesting stuff to share. The title of the thing is a little up in the air at the moment, but for now you can read us over at Pixeldiggers.

With a winter break stretching before us and a new year on the horizon I’m sure many of us student artist types are thinking about all of the drawing and painting practice we’ve got planned. So I thought it would be fitting to start out my first blog post thinking about how best to come out the other side of winter break with that happy feeling of accomplishment.

This was prompted by a podcast I listened to today, Chris Oatley’s Art Cast. If you’re not familiar with it, I highly recommend it. Chris is a character designer and development artist at Disney, which is pretty fantastic in itself, but he’s also an assiduous life-long learner, and his podcast is chiefly concerned with how he (and by virtue of your listening, you) can improve your artistic skills, attain your career goals, hone your craft, and generally be a bigger better more jewel encrusted you.

In his most recent episode (that would be #58) Chris addresses the idea of making New Year’s Resolutions about improving your art, and how the sort of well meaning but naive goals like “I’ll do a new painting every day” should be avoided, in favor of some more productive alternatives.

I’ll hold my tongue least I spoil the episode for you, it’s well worth a listen, but I will say that one of his recommendations is to focus on a specific project with a measurable end product. This idea runs along a theme I’ve heard recently from a number of artists:

“Projects are the New Portfolios”

Don’t get me wrong, a traditional portfolio is still important. But I think one thing that separates the work in a student portfolio from that of a professional is that professional work is part of a larger end product, and so it reflects the depth and attention to requirements that a larger project demands. Learning to work creatively within those real world strictures is what makes you a better professional.

Making your own projects is a way to practice at that. A good project can be anything as long as it has a clear, tangible end product. Here are some good examples:

  • Comic (stand alone short, web comic, series of strips, etc)
  • Illustrated Story (book, single page story, etc)
  • Collected Sketchbook
  • Illustration Series (famous jazz musician portraits, 80′s pop icon tarot cards)
  • Poster Design
  • Holiday Greeting Card
  • Portfolio Web Site

You get the idea. The point is that you have a specific goal so that you have something to work towards, limitations on the scale, size, cost, time, etc, and some discrete physical (or digital) thing to have when you are done.

Now, the trick is to use the project as an excuse to improve some specific skill you want to master. In my case, I would like to get a better handle on character design and 3D form, and I really want to get some experience using Zbrush. So I’ve decided my goal for the next few weeks will be to design a character, sculpt it in Zbrush and Maya, and then have it 3D printed as a (by then belated) holiday trinket to give out to some friends and family.

We’ll see how it goes ^_^.

Our first assignment in perspective class this year was 100 impeccable cubes, freehand. You don’t usually think of perspective class as a place for freehand drawing, but it really should be. Being able to work out a complex perspective problem with a ruler is important but let’s face it, most of the time drawing with a ruler is a drag. Rulers are a tool for finished drawings, not for sketching. But sketching is where all the design happens. I can only speak for myself, but I want to have the sort of draftsmanship skills that I can draw what I want to long before I have to get the ruler out.

As with any hand skills, the only way to build them is muscle memory inducing repetition. So I started drawing cubes. 100 isn’t that many, right?

The first hurdle to get over is to realize that what you think is a cube in your head isn’t. It took me about 45 cubes to realize this. When I started drawing my cubes I did them out of my imagination. They were awful. To help things along we were encourage to build a model to draw from. Here’s mine:

It’s made from foamcoar board, 4 inches on a side, with some geometric printouts pasted on each face. Drawing from the model was a big help. I even taped a knitting needle to the end of my pencil to use as a measuring guide while I worked. I did the next 90 or so cubes this way.

It get’s a little monotonous. Especially when you realize that there are really only 9 views of a cube (think about it). Everything else is just some slight variation of one of those nine.

One drawback to the cube model is that you’re always about the same distance away from it, so the amount of foreshortening and wideangleness is always the same. A good alternative I found was to draw up a cube in a 3D program on my computer and them move the camera around at different focal lengths for variety. This is also nice because you can set it to wireframe and see where the back faces are too. It’s super important to draw the cubes through to the back side to make sure you understand the structure.

By then end of the assignment I had drawn 227 cubes, but quite a few of them were less than impeccable. We were asked to submit 20 of our best. Here are mine (in no particular order):

You can see they’ve got a little of that hand drawn wobble to them, but that’s fine. It just gives them a little class. The point is that my hands have the experience of drawing 227 cubes (and about 20 good ones), and my eyes can recognize a good cube from a bad one.

So as I mentioned in the previous post, we did a number of painted portraits this semester. That last one was all about direct observation of color. This assignment was about observing value. We painted several studies of the portrait in monochrome and then added color through glazes later.

I got the original picture from a very interesting collection of mug shot photos taken by the New South Wales Police Dept. around the turn of the century.

Isn’t this picture fantastic!!! The Historic House Trust has a collection of hundreds of photos like these up on their website. The caption of this image reads:

Dorothy Mort, criminal record number 518LB, 18 April 1921. State Reformatory for Women, Long Bay, NSW

Convicted of murder. Mrs Dorothy Mort was having an affair with dashing young doctor Claude Tozer. On 21 December 1920 Tozer visited her home with the intention of breaking off the relationship. Mort shot him dead before attempting to commit suicide. Aged 32. Part of an archive of forensic photography created by the NSW Police between 1912 and 1964.

The photos are all haunting and amazingly detailed.

So anyway, here’s how my underpainting went. I took a photo part way through and then again at the end. I was trying very hard to map out the planes of the face and make her features more angular with the intention of rounding things over when I got to the color stages later.

Because the original photo is in black and white I was going to need to make up the colors for her face so I decided to do a digital paint over to play with a few things. Honestly it didn’t go that well. This was the best of the lot.

When the time came to add the color I decided to take a different tact. This same week in figure class we were working on master copies and were discussing the idea of using another artist’s images a touchstones. I’ve always liked this portrait by Edward Kensella:

In fact, I’ve got a really bad laser printer copy of it on my wall. The color laser printer amps up all the colors and really saturates everything and it gave this picture this angry red glow that is totally absent in the picture above. It seemed like an interesting place to start from. Here’s what I came up with:

Originally the idea was for the color to be a transparent glaze over the underpainting, and it was at first, I swear. But as things moved on and I kept adjusting it turned unto a rather opaque paint over. The glaze still comes through in the eyes. You can see where the black is now a deep red. I’m pretty happy with it.

Oil on board, about 8 in x 10 in

My painting semester is over and I’ve got a bunch of paintings to share.

I got a little behind in posting things. This piece is from way back in October in the first half of the semester when we were still working in traditional paints. The goal for this assignment was to directly mix colors from observation. This was in contrast to the previous assignment where we did monochromatic under paintings and then applied color later.

Because this assignment was an exercise in color matching I decided limit myself from doing any blending or mixing on the canvas. Only splotches of flat color ala Lucian Freud. It came out a little flatter than I was hoping but it was interesting to realize how much variation in color there is in areas that look solid at first glance.

Portraits are kind of a new area for me, so I’ve had a lot of fun practicing.

Oh! Before I forget. I found woman’s picture on the photo stream of photographer Debabrata Ray. Go check out his work, he is very talented. I’m afraid I didn’t give the original photo justice.

Oil on Board, about 8 in x 10 in

Every once in a while someone happens upon my blog while looking for a picture of this or that and asks me if they can use one of my images, which is sooo cool.

I got an e-mail last week from a librarian at the Harris County Public Library (it it turns out is also the Lone Star College-CyFair Branch library, one of only 2 joint use libraries in Texas!) asking if they could use my watercolor portrait of Lincoln for a poster.

The Library is hosting a Lincoln exhibit from the American Library Association from late December to mid-February. The poster promoting the exhibit is going to be hanging in the children’s section for the next few months, and it’s got my picture smack dab in the middle.

I am a huge fan of libraries, so I’m super excited about having my picture up in one. If you’re in Texas and get the chance, go check it out. If you can’t make it, they were kind enough to send me a mockup of the poster design.

 

I’m really enjoying the figure drawing course I’ve been taking. It’s only been about 6 weeks but I am making HUGE improvements. One thing that’s helped a lot is this method we are working with using nupastels on smooth toned paper.

It works like this:

  1. block in the silhouette of the figure with a light pastel, something lighter than the tone of the paper.
  2. cut back into the silhouette with a dark pastel to refine the silhouette and define a good composition.
  3. smear the heck out of everything so you’re left with a sort of mid tone.
  4. cut back in with the dark to find the silhouette again, and then use the light pastel to add highlights and details to the figure.

Credit for this technique goes to Mark English who developed it while he was teaching figure drawing. It’s very helpful because it gets you to focus on the big shapes in the figure before getting caught up on the details. Also, because you rub everything out mid way through you can spend the first half of the drawing noodling and adjusting all you want but the final result still looks fresh and not overworked.

Nupastel on toned paper, 18 in. x 24 in.

Oil, about 3 in wide.

 

This was a fun project. It’s inspired by the gallery work of Daniel Adel. Everything in the still life is white, so it picks up ambient colors reflecting from around the room. I played them up a bit, but they are still all based in observation.

Oil, about 12 in. x 9 in.

Back to oil paint this time.

I’ve been leafing though the archives on Nathan Fowkes’ blog looking for ways to improve. He has a few posts with progress shots of his gouache landscapes that were very revealing. It looks like many of the paintings start with a bright wash over everything and then builds dark values on top. This painting of morning glories from March 2007 is a good example.

Fowkes is working in Watercolor with white gouache, but I decided to try with oils. Bright yellow wash, big strokes, oversized brush, and careful planning. Here’s Hector again:

You can see the yellow wash peaking around the edges. I wish I had left more of it. It’s all on the masking tape, so if I pull it off it will be gone. I kind of like it there.

Oil, about 7 in square.

For this one I put Hector on my worktable, and the propped up my little animation light table behind him. It has a big round florescent bulb behind a piece of frosted plastic so it gives a super bright, cold, and diffuse light.

Oil, about 6 in. x 12 in.

 

 

 

 

I spent about 2 hours trying to clean out my collection of technical pens. There were 2 fatalities so in their honor I decided I should make something with the survivors. This phrase popped into my head.

india ink, 9 in. x 12 in.

 

Here’s a little exercise I’ve been doing lately that I’m really enjoying. Take an image that you really like (painting, illustration, photograph, movie still, whatever) and do a little thumbnail size study.

Don’t worry about the details, that’s why you’re working so small. The idea is to get past the content of the picture and see the underlying composition: lights and darks, warms and cools, the big puzzle pieces.

Here are a few of my examples:

These are digital greyscale, originals on the left and my studies on the right. You can click for a slightly larger view, but really the point is to see things small so you get away from the details. The pictures are from my favorite book: 

Here are a few from famous paintings – 10 points if you can name them all. I wanted to try a few outside of the computer, so I did most of these using my fountain pen. I also tried a few in gouache so I could study the color arrangements.

These are a few modern works. From the top left: Chris Van Allsburg, Gianni De Conno, Shaun Tan again, a photo from my favorite photographer Lartigue (look him up, he has a very interesting story), Eric Fortune, Jens Claessens, Shaun Tan again again, and Peter Nguyen.

This is a good way to deconstruct works of art you like and see what makes them so appealing. It’s also a good way to rehearse successes, get a feeling for what makes a composition work so that you can apply those lessons to your own work.

More still life work, this time in gouache. I’m trying to find a painting medium and method that I like. This is about 18 cm x 26 cm on hotpress paper. That’s Hector by the way, he’s my Mom’s little potted ivy plant.

Still life number 2 for painting class. Our assignment was to paint the same subjects from 2 different lighting conditions so I thought this would be a good opertunity to expiriement a bit.

This is my little white tea cup and one of my patchwork juggling balls.