Monday, May 22, 2017

Drawing White Objects



Notice the shadows
My niece has just started to draw--so I suggested she try to draw white objects and drawing from life, not photographs.

Why White?

One of the best ways to do this is to draw simple white objects against a white background.

Why?

  1. There is no distracting color
  2. There is no distracting pattern
  3. You can see value clearly
  4. See how shading shapes an object
  5. learn the temperature of white
  6. Understanding the difference between contour shadow and cast shadows

White is Not Always White

Notice the contour shadows
When we think of white we think of the absence of color. Not so! Have you ever gone looking for white paint in a paint store? How many shades of white are there? White has color. Actually white has all of them! But lets not get into that. White also has temperature. There are warm and cool whites. Whites that tend towards the yellow, whites that tend towards the blue. How does this effect drawing with graphite? Even a white egg will have value shifts in its contours.

See all the shades of white
While it is a challenge to draw, using white objects against a white background will teach you more than almost any other drawing exercise. Drawing these from life will help you focus on their true shape and size. Working with a couple of similarly white objects will also help you learn to evaluate relative size, placement and even texture. One of the classic drawing exercises used for many years in drawing classes the world over is drawing a white bowl of eggs. Or a simple grouping of eggs on a white tablecloth. Many an art student remember this and shudders! 

Simple shapes are not simple
Also by drawing white you are not deceived by differences in color intensity nor distracted by pattern. When you are first learning to draw ( and even after if you are honest) you will find different colors will catch your eye first or distract you from other objects around it. This is natural. We all have our own color preferences and sometimes dislikes. When you are using a monochrome media, like graphite, interpreting these colors into a value rich drawing can be both rewarding and a little confusing. Learning to judge which red is brighter, lighter or should be more value rich then the mustard yellow or purple can lead to really exciting drawing. Learning to focus also on the contour shading of an object, seeing the small value changes in a solidly colored object will help you draw that Chinese vase so it looks real, round and almost popping off the page instead of like a flat cutout.

Where are the edges?
To draw well, whether it is hyper-realistic or fantasy, abstract or cartooned, you need to understand the difference between cast shadows and contour shadow. You can read all you want. You can copy master drawings, use photographs, but until you do it yourself, from life learning to make your own judgments, you will not really experience the whole joy and freedom of drawing.


Learning the technical side of the art is freeing. Just as learning the scales when learning to play an instrument gives you the muscle memory to move with the rhythm of the song learning to see the contour shading frees you to draw what you see accurately. This makes it easier to manipulate objects when you want to. Understanding them helps you turn them inside out and create believable imaginary objects.
All white but not the same color




Wednesday, May 17, 2017

This is a Critique Not a Criticism.





A critique looks to analyze. Yes, it will point out the “faults” or something like that. But it is not supposed to slash, bash or trash a work. But to look for both the good and bad. The point of a critique is to improve. Not just the artist who is being critiqued but those that look at the artwork.

Learning to critique both your own and others artwork can help you as an artist and patron both improve your own work and your appreciation of artwork in general.

So this is a critique.

There is a lot of misunderstanding about critique. And this is perpetuated by a lot of “art classes”. So often students are made to feel that they must find something wrong, something to criticize and denigrate in a work of art.  Honest evaluation and analysis is essential, but active bashing of the art and artist is not.

“If you can’t say anything good, don’t say anything at all”

While this is good manners, undeserved praise helps no one. Honestly is needed here. It is not necessary for a person participating in a critique to have all the answers. Sometimes simply listening to the artist is an amazing amount of help. When a piece does not work, and the artist knows it, putting your finger an just what is wrong is harder than you think. Helpful, tactful suggestions can unlock the artist’s creative view and lead to a solution. Or even another leap of creativity.

OK, enough preaching.

This is a critique.


My niece, a lovely, talented girl (she gets it from me) has recently discovered painting and drawing. She was invited to attend one of those wine/cheese paint a picture parties. While everyone had a good time, something for her clicked.

First Painting
But she also recognized that these parties, while fun, did not offer enough. I encouraged her to simply get a few pencils, a sketch pad and draw. Draw from life. Simple everyday objects.  Preferably white.

Now, those of you experienced in art know the value of drawing white on white objects. Many of you have fond/hateful memories of drawing a pile of eggs or marble busts in school. We all did it. But there is no better way to actually see what you are drawing, undistracted by color, pattern and texture. White on white helps you see the contrasts and values that make up and object. You start to see both cast shadows and contour shadows that you might not have been consciously aware of before.

So here is the critique. Niece texted me a simple drawing she did of a white oriental spoon. In the photo is the actual spoon.

First Sketch
Now for a first effort this is rather good. She placed the spoon on a white cloth. 

I have never been an advocate of the harsh
critique. Or as I call it, the drill sargent,s technique of critique. I am not preparing anyone for war so why act like it. I also find harsh criticism unhelpful. The point of critique is improvement. Anything that totally discourage or eviscerates a person really is not helpful.

The point of a critique is not to elevate the person giving the critique but the person receiving it.

Sometimes in schools or in groups people are made to feel if they do not point out “mistakes” or they cannot put others work down, it somehow lowers their own work. We do not advance by putting others down but by improving our own work. When you undertake a critique it should also reflect and result in improvement in your own work.


Monday, May 15, 2017

Giving A Critique



When asked to give a critique, do you suddenly feel intimidated? Put on the spot? Almost exposed?

I could never do that! Why what would I say? I could never be mean!

I could never be mean.

That is the crux of the matter. The idea that critique is or should be “mean”. That only harsh criticism is real critique.

Well, it isn’t. The really harsh stuff seldom does anything other than make the giver feel superior.

There is a body of thought that truly believes that tearing someone down is the best way to build them up, make “real artists” of them.

What it does do is rip them apart in an effort to remake them in your image.


So when asked to give a critique, remember it is not a criticism. Look for both good and bad. Encouragement and suggestions. But remember they are only suggestions.

Each artist must work to their own vision.


Monday, February 13, 2017

Brookgreen Landscape

 
 
 
Brookgreen Gardens is in South Carolina. It is a wonderful place to stroll among beautiful plants and art. It started as a sculpture garden and still displays sculpture among the many exotic planting. It also has a zoo of farm and native animal.

The price of admission is good for 2 days, and you are welcome to come and sit, sketch and photograph anywhere and for any length of time.

Well worth a visit if you visit the islands along the coast of South Carolina.
 

Monday, February 6, 2017

Many shades of Gray.


Working on this heron, I am using many, many grays.
 

Working on my Lesser Blue Heron, I am constantly reaching for gray pencils. I have a lot of them!

 

 

Working Definition of gray:
adjective, grayer, grayest. 
 
1. of a color between white and black; having a neutral hue.
2. dark, dismal, or gloomy: gray skies.
3. dull, dreary, or monotonous. 
4. having gray hair; gray-headed. 
5. pertaining to old age; mature.
9. any achromatic color; any color with zero chroma, intermediate between white and black. 
10. something of this color.
Cool Grays
 

 

In art, gray is anything but dull. It is essential to any painting. You cannot work without gray. It is what gives life and depth to any 2-d artwork, what makes it pop or look real.

 

Far from being neutral or dull, gray comes in a wide variety of hues and chroma.

 

The definition of Chroma:

1. the purity of a color, or its freedom from white or gray.
2. intensity of distinctive hue; saturation of a color

 

But gray has its own intensity and saturation of color. And it does come in colors! Any pure color can and does have its version of gray. Warm, cool, French etc. I have a beautiful green-gray and a very useful rose-gray. Purples lend themselves to fantastic grays. Ask any floral or landscape artist how they could work without creating the essential grays. Same with portraits.

 

One of the things that makes both graphite and silverpoint beautiful to me is the vibrancy of the gray tones.

 

I love gray.

 
I could not draw or paint without it. Each time I create a painting I am mixing a new, exciting shade of gray.


And right now nothing is more popular than gray. Look at the color charts in any paint department. Gray comes in more than 50 shades and each is beautiful.

 

Lots of grays, from French to warm to cool.
 

Tuesday, January 17, 2017

Landscapes in Colored Pencil

I see a lot of colored pencil drawings/painting both from artists friends here and others that I have made through the internet. Most are beautiful and most are of single subjects, still lifes or portraits. Few are landscapes in the tradition of the masters.



Color pencil simply seems to lend itself to find detail of a single subject. A flower a beloved pet or the arrangement of objects.



Doing a landscape in colored pencil is less common.


Most I do single subjects in colored pencil. I seldom construct a complete picture, something with a background, mid-ground and foreground. I have to wonder why.



I am working on a landscape in colored pencil right now. It is of a scene in Brook-green gardens, a public garden in Myrtle Beach, South Carolina. It is giving me fits. I am simply not used to working on a complete painting in colored pencil.



But I am finding that I must approach it as I would an oil painting. Even the way I hold the pencils is more like a paint brush, less like a standard pencil. So I am making brushstrokes with my pencils. Blending the colors as I would paint on a canvas.

Tuesday, January 10, 2017

Are you afraid of the darks?


 

Sometimes it can be intimidating to lay down that really dark layer. Afraid to go too dark. Even when you know, when all your artistic senses tell you that the dark is correct. It still can be difficult to commit to that rich full dark pigment.

 

While I don’t have as much trouble with this when I paint with oils, with colored pencil or any medium that you work light to dark I have trouble laying down the darkest colors. Without these rich tones however, you lighter hues just are not as rich and full as they need to be. With the truly well developed darks the entire piece will be flattened, monotoned and uninteresting. Unfullfilling. Without the darks the lights lack sparkle.