Portrait Artist Forum - View Single Post - Eye training

Paul Foxton · 08-03-2006, 06:03 AM

Hi Mischa, thanks for your comments.

I think I'll leave the drawings here rather than the critique section though, primarily because they're not finished drawings, just exercises in accuracy. The problem with critiques for these drawings is that unless I can get a reliable shot from exactly my viewpoint, accuracy can't be properly judged from a photo. I hope that makes sense.

I've taken down the set up now so can't re-check the drawing, or correct it any more. I'll try to post 'in progress' shots of some of the next drawings.

Steven, that's interesting what you say about the proportion of shadow to light. I hadn't thought about that at all. What I have done is tried to control the light in what might be called an 'old master' approach.

It's natural light from the window, with all but a square foot or so screened off, to give me lighting slightly above and to one side of the 'model.' After a few experimients with different lighting, proximity to the window etc, I'm beginning to realise that less is often more. This is pretty much how I light the subjects for my still life paintings.

08-03-2006, 06:03 AM	#6
Paul Foxton Juried Member Joined: Feb 2006 Location: Epsom, United Kingdom Posts: 76	Hi Mischa, thanks for your comments. I think I'll leave the drawings here rather than the critique section though, primarily because they're not finished drawings, just exercises in accuracy. The problem with critiques for these drawings is that unless I can get a reliable shot from exactly my viewpoint, accuracy can't be properly judged from a photo. I hope that makes sense. I've taken down the set up now so can't re-check the drawing, or correct it any more. I'll try to post 'in progress' shots of some of the next drawings. Steven, that's interesting what you say about the proportion of shadow to light. I hadn't thought about that at all. What I have done is tried to control the light in what might be called an 'old master' approach. It's natural light from the window, with all but a square foot or so screened off, to give me lighting slightly above and to one side of the 'model.' After a few experimients with different lighting, proximity to the window etc, I'm beginning to realise that less is often more. This is pretty much how I light the subjects for my still life paintings.