Jodie

Ngaire Winwood · 02-09-2005, 11:32 PM

I have relocated to a bigger city from pop. 10,000 to 94,000 and am looking forward to the added benefits all round. There is only 1 life drawing session here though. I have been so busy packing, moving and unpacking, I needed some artistic relief and I went to this session for the first time last night it costs $7 each for 2 hours. As a beginner I am hoping that they get some sort of lighting as there is only ceiling lights at present which doesn't help me see the halftones etc. The group will be different each week no doubt but I can't believe the regulars haven't said something about getting proper lighting.

I have been to shy to post up until now because of the advanced work on this forum but I have gathered up the courage to post here as a start.

Jodie - 20 min pose in conte chalk

Michele Rushworth · 02-10-2005, 12:03 AM

Ngaire, you'll find your job much easier if you squint to see the large masses of light and dark areas. Of course, getting the model set up in a place where there is a single source of light will make it easier for everyone too.

Ngaire Winwood · 02-10-2005, 12:17 AM

Michelle, I was squinting as I remembered reading it here on the forum but it was so subtle I couldn't make them out very well.

I might pluck up the courage next week and ask why the lighting is as it is? Any ideas of what and how I should go about this other than having a single light source. I think the fluorescents's are in the middle of the ceiling. I could take a lamp light on a stand, would that help. The room is about 20 by 25 feet with ceiling fluorescents's.

The artists need a light to use to draw with as well, so maybe the lamp light on a stand won't do.

Timothy C. Tyler · 02-10-2005, 10:15 AM

I think it's an especially nice head study. I also really think it is good practice for everyone (to draw from life). there are two places near me where numerous artists get together to do this...several are professionals just keeping their eye's fresh.

Good work, each one will get easier and better and your light from one direction would be helpful. Class situations are not always the best lighting.

John Crowther · 02-10-2005, 09:34 PM

There's a very good workshop Saturday mornings here in Los Angeles (Venice) that I attend regularly. It's 3 hours for $12. The people there are all serious, with some extremely good artists. Interestingly, I've found that practicing from photographs actually helps enormously when drawing from life, so it works both ways. If anyone is interested they can e-mail me privately for directions.

John C.

Ngaire Winwood · 02-11-2005, 12:21 AM

Thanks Tim, your words are encouraging to me. I seem to get so nervous before I start as I don't feel confident yet.

This is only the 5th session I have ever attended so it is still all new to me. It has been 4 months since the last one and I am realising it will still take a few minutes to warm up before I get my eye in. This one was number 4 out of 6 for the night.

It was also the first time I used a conte and the squareness threw me a bit, no doubt I will get used to it.

I will be looking forward to a weekly session from now on.

I can't wait to try to use other mediums like ink, pastel, coloured pencils.

Just to be with like minded people is such a relief even if my work isn't as good as I would like it to be.

Thanks again Tim for your kind words.

Marcus Lim · 02-12-2005, 01:20 AM

Quote:

Originally Posted by Ngaire Winwood

Michelle, I was squinting as I remembered reading it here on the forum but it was so subtle I couldn't make them out very well.

I might pluck up the courage next week and ask why the lighting is as it is? Any ideas of what and how I should go about this other than having a single light source. I think the fluorescents's are in the middle of the ceiling. I could take a lamp light on a stand, would that help. The room is about 20 by 25 feet with ceiling fluorescents's.

The artists need a light to use to draw with as well, so maybe the lamp light on a stand won't do.

Hi Ngaire, I applaud at the amazing work you've done in 20 minutes! With a little more practice and understanding the anatomy, I'm sure you'll go far in no time.

Just to share, I used to draw with a local art group that did not provide adequate lighting. In fact, when I first started I had trouble getting the masses right too and ended up with a pretty dark piece for quite a while. But it was there that I discovered that while it is hard to make out the subtle changes, it provides a mental training for me to decide between "Dark" and "Light" dimensions. This is fundamental step for any painting at early stages, without getting into the subtleties too early. As I gained my knowledge in anatomy (ie. where are the protrusions and contusions of a human body) I enforced this together with the visual training I gained from the poorly-lit place. So now, even without a model, I'm able to provide a credible lighting for my paintings.

An example of one such effort is a painting I posted when first arrived at this Forum:
http://forum.portraitartist.com/showthread.php?t=4956

Hope what I said encourages you further.

Cheers,
Marcus

Ngaire Winwood · 02-12-2005, 06:15 AM

Thanks Marcus

I wished I had started earlier, I haven't even reached the 200th day of my training (drawing/painting practice) in my whole life yet, I didn't start as a child like most. It is all so new to me. I realise the shoulders aren't good but when the bell goes its a shame you have to stop, but you have this need to want to fix it, somehow. I hope they fix the lighting as I can't gain confidence in reading the tones if I can't see them. I realise when you do become confident that alot of times, you just don't have the ideal lighting and have to rely on your initial training to get you out of situations like you said.

I am in the process of learning light, perspective, mass, planes and the rest before I get too involved in figures/portraits. I am starting to realise just how precious time is and am trying to use it wisely.

I also had trouble with the conte as the squareness didn't allow me to go lighter in the same stroke or maybe I just haven't learnt how yet which makes it as dark and light even though I tried to use halftones.

I had a look at your painting, what a powerful image for the story. They say a lot can be read in a face but also a lot can be read in an image too. Well done and thanks for the support. You are so lucky to have an apprenticeship.

Debra Norton · 02-12-2005, 09:37 AM

Ngaire,

One thing that has really helped me with my figure drawing is to look at the figure (while squinting) and ask myself - where is the light falling? Then I check my picture to make sure it matches up. Next I take another look and ask - where are the shadows, checking my picture again to see if it matches. I've found that if I try to see both at the same time I usually come up with a mess. And just look for the large shapes at first, then the smaller ones. Squinting helps to judge whether something is with the light or with the shadow.

It also helps to just stand there, squinting, and looking rapidly back and forth from model to picture. Eventually something will "pop out" that doesn't match up. Doing the same without squinting helps too.
Using a black or regular mirror to look at it backwards or upside down helps you check your shapes and your values.

I've never used conte, so I can't help in that area, but have you tried charcoal or pencil? You may find it easier for the half tones. The size of your drawing makes a difference too, in how much you can accomplish in one session.

For a 20 minute pose I think you did very well. Does she stay in the same pose throughout the two hour session or change? Can you work on the same pose for the whole two hours? Do you use sight size or comparative measurement when you draw?

I think you are wise to concentrate on the basics, that will make you a better artist in the long run.

Debra

Ngaire Winwood · 02-12-2005, 05:22 PM

Thanks Debra for the advice.

No, she changes the pose after each 20 minutes. She did start off with a couple of 5 and a 10 min pose to warm up with but they are all different. I asked at the end of the night is there a chance to have a sustained pose for a detailed drawing and the one in charge said no not in this session. The drawing is 17 x 12.

The lighting is pretty bad and even when I squinted I could barely make out any shadow, I was barely able to see the lights in the hair. Hopefully I can raise this issue, this week. I think the guy who is in charge is a sculpture and maybe he is not interested in light effects?