Bargue Exercises - an ongoing experience
 

Hi all, I have the Bargue Drawing Course book and thought it would be a good idea to share my learning experience with this type of training with forum members.

I started out pretty frustrated doing the exercises as I used no measuring, only eyeing in the lines and compare, compare, compare and realised that my skills weren't up to scratch to place a line correctly the first time around. After doing one line first drawn only drawings with 100 samples of exercise 1 - Plate 1 with 20-50% accuracy, I skipped the rest of this plate and moved on to a tonal drawing plate to try my skills at, namely Plate 14. I also nearly completed Plate 60, but added to it to make it more life like, see below. I then realised I don't have an even quality with my shading, so with this realisation of both counts of having insufficient skills, I decided there is only one way to do them and that is to do them one at a time as they were intended and planned in the course and just hope I progress. I started afresh and took the course more seriously with a new level of dedication and started at the beginning on Plate 1 and will work on from here, fingers crossed.

My method I used was firstly, I went to a local printing company and increased the size of the plates to A3 first and then put the original on the left of my working copy that are then both attached to a drawing board by sticky tape on a vertical easel. I used H and 2B graphite pencils and a rubber when allowed for Plate 1.

Here is Plate 1 completed with minimal corrections (meaning a slight angle change here and there) eyeing in with no measuring, eye only. Generally lines were placed 80-90% of the time first stroke without corrections which I heard was the best way to do this course (that is via the academic teaching method). I am allowing a 5% leeway for being a beginner as doing the lessons this way is really hardwork as I would like to see a progression to the next exercises without too much delay from inaccuracies. I am also working on a vertical easel and my arm and shoulder ache due to lack of experience working in this way (that I hope will get stronger each day that will allow me to stay at my easel longer). I used the H pencil first to place lines in and stood back and checked it against the original, if I was satisfied, I then did these same lines in a 2B over the top and stood back and compared and moved onto the next exercise.

I am hoping the plates will get easier as I gain more experience. There might be better methods to go about doing this course that will allow me to get maximum effects and I am hoping someone might shed some light for me, if any one has any suggestions, I would appreciate it.

I have put the original first and my working copy following.

I haven't figured out yet how to place the original next to the working copy so please be patient with my inexperience.

Here is Plate 1 with the original first.

Hi Ngaire,

I used to practice copying drawings by Leonardo and Michalanglo for learning. At least I learned something about sensitive lines.

You could trace the original drawing on a piece of transparent plastic and lay it over your own drawing to control. But don

Thanks Allan. I am also studying the linework in Rembrandt drawings from a book I got out from the library. Yes the sensitivity of line is exquisite. I haven't started copying them yet.

Bargue has a long history with artistic training so I am hoping the benefits will be fothcoming if I stick with it.

Hi Ngaire,
Do these exercises until you're exhausted and you'll never regret.
Get a bust or a sculpture to practice from life. You're getting better and better.

Congratulations on choosing this path. I imagine you will learn more this way than in trying to find good instruction near you.

Thanks Claudemir and Michelle for your support. Yes I feel that since having so many frustrations in the past, this path will hopefully teach me the skills I will need for a quality portrait painting future. Keep fingers crossed.

Rembrandt had many students and wannabee

Thanks Allan, I will print them out and tackle them. I wonder what size brush he used? Would colour paint did he use in these or are they a wash? Do you suggest a particular size to do them? They would have been strokes made quickly wouldn't they?

Ngaire,

The drawings are made with a Reed pen and Bistre, a dark brown ink made from Sot. On the drawing of the woman in bed there is a thin wash in the upper left corner, made with brush.
The evidence of another hand on the drawing is mainly based on the mechanical hatchings in the right side. Note how his own hatchings are always modeling the form.

Allan

Ngaire,
I too have used the Bargue course and am always copying from it. It is an invaluable tool and your drawings are very good. With your level of dedication I am sure your will be completing beautiful portraits and we here on the forum will be fortunate to watch your progress!

Please keep sharing your work. It is fun to see!

Enjoy the process!!

Patty

ps you may want to invest in a mahl stick to help with working on a vertical set-up. I don't know what I would do without mine.

Thanks Allan and Patty for your support.

Patty, as I am late starter into art, I am hoping these exercises will quicken the process and teach me what I need to know to become a portrait artist, hopefully within a five year range. I sometimes think this adventurous plan might be out of my reach as there is so much technical stuff to learn and I haven't even started on the technical side of colour yet. How beneficial did you find them the plates, other than developing ones artistic eye? Thanks for the tip for a mahl stick also.

You are so fortunate to have the opportunity to workshop with Marvin.

Ngaire,
We are on the same path! Hopefully, Marvin's book will come out before too long. I know he is working on it. My plan was like yours, draw for two to three years and then learn to paint. And paint, paint, paint. I figure it will be a few years before I am at a level and have enough sample pieces to market my work - we'll see! In the meantime I am eliciting my nieces and nephews to sit for me. This will keep me busy for quite a while!!

Marvin talked one evening about the Bargue drawings. He believes they are very beneficial to study, even if you don't draw every plate. I use the book for reference allot, if I don't understand an angle of a particular feature.

Well Pat, there are many people marketing their work and they don't have the same quality as yours. You shouldn't be afraid of that. You're last post was really good. Believe me.

Claudemir,
Thanks for the moral support!! I just know that my first priority has to be to paint allot! And to get paintings hanging in peoples homes where others will see them and may want to commission me to do a portrait. :thumbsup:

Ngaire,

I have made a "Ps." to my first post ( with the drawings ), have a look.

This first drawing is made with a combination of reed pen and brush and bistre.
The lower drawing is only brush and bistre.

I would say that these drawings are impossible to copy without using the same tools and talent that he had.

But it does

Pat, thanks for sharing also, that's what is good about this forum, we all grow together.

Allan, your copywork is gorgeous and sensitive. Are reed pens available generally or is it homemade?

I have come to a halt with my exercises for a week or so as I am shifting house once again. I have been asked to move out as the owners want to reclaim it for their use. It is a nuisance all round and costly. I am half way through Plate 2 at present.

Allan, I forgort to mention that 'A Woman Sleeping' is my all time favourite drawing, it certainly is an exquisite masterpeice and it is by my favourite draughtsman, Rembrandt. Thanks for sharing.

It is homemade. Reeds grow in marshy areas all over the world and certainly in Holland.

Use a sharp knife and point the reed like an old time feather pen. Remember to split it from the pointed end. The pointed end can be different sizes, like 1 - 3 mm wide.

Best, Allan

Thanks Allan, I thought so, I have never seen one. I am wondering if I used bamboo would it do the same trick?

Ngaire,
I made one for you.

Allan

Thanks Allan for taking the time to make and post photos of a reed pen, I will have to find a swamp and try it myself. Would brown ink do instead to use? Do you have any original drawings using this method?

Allan, I forgot to ask you to translate the words for me. Is it a how-to?

Sorry, I should have told you. It

Allan,

What is the raw material for your thatched roof? I presume that it's harvested locally.

Mike,
It

Good examples Allan, I am starting to think you would use a reed pen like you were doing watercolour with each mark being placed appropriately whether on its points or dragged across for a thicker wash. Is this how you did it?

Ngaire,
I find it difficult to explain what I am trying to do with the reed pen and brush. The best analogy would be to compare with a charcoal drawing.

With the coal you will make lines that are varied in size and structure, they may be thin in one end and getting thicker in the other end, maybe even get lost in a dark shadow.
The coal may also be used at the side making values. The shapes of those dark areas are also part of the drawing.

In short I will say that it is a painterly way of drawing. Not just a line drawing or value thing, but the two cooperate.

The cat drawing is 8 x 12" and took about 5 min.

Finally finished Plate 2
 

Here is the next exercise - Plate 2. Due to a recent house move I haven't completed it as quickly as I would have liked. I noticed this time that my eye is already seeing better angles and I was able to place lines in a lot easier.

I have also included the original for reference.

Unfortunately my scanner cut off some of the drawings as it wasn't big enough to cope with the size. An A3 scanner is already on my wish list.

Buying my own
 

Hi and thanks for all the info I was wanting to know where to buy one of the books for my self ?
And can you tell me the size of the the plates or book size ?

thank you for sharing all the info you have

Richard Barnett

I really like the work you're doing on these exercises -- and your determination!

Thanks heaps Michelle, I am also doing other exercises as well but I will try to pick up the pace with these as I am anxious to get to the more complicated plates. Wasn't it Ingres who said "The way to become a master painter is to first master drawing".

Richard, As far as I am aware, Dahesh Museum of Art, 580 Madison Avenue, New York or visit www.daheshmuseum.org is the only place the book is available and the plates are all A4 or smaller.

I have increased them to A3 to make them more workable, your local copy centre should be able to do this for you Richard. Plate 3 is more faces, then number 4 is on ears. They increase with difficulty in each one, it is an exciting journey really. I have definitely seen an improvement in my 'seeing' already and I have more confidence to boot.

Others have suggested to do only a couple of plates in each section, but I think I should do every one as it is explained in the book as it is a progressive course. I am not into taking short cuts.

I will post a painting by Bargue to show his talent/skill.

I received the Bargue book from Santa (I must have been a good girl!) and I'm going through the plates one at a time, too. I can already tell a difference in how I'm seeing. It's a long process, though. The hard part is making your drawing the same size as the reference, but the results are well worth the time invested.

Renee