Michelangelo`s Sculpture

[Leslie Bohoss]

Hello!

I read many postings here and I think I took the wrong way to become a serious painter, immediately starting with oil portraits without any drawing and painting before.

Now I'm trying a "classical" (academic style?) drawing in charcoal. Inspired from Michael Georges' Aurora project. (One thing I know, I could never do that.)

I recorded a program on an Italian culture, style and art channel (called Leonardo) about Michelangelo. (By the way, they make superior camera paths over (old and new) paintings, you can see the brushstokes as in a museum.)

So here is my first charcoal drawing. I think this is a sculpture of Moses, but my Italian is very, very very poor. Today, I searched on net for it, to have a reference photo.

It took about 3-4 hrs. Size is A3. The beard is not so detailed.

Any critiques are welcome!

Sincerely,
Leslie.

[Mari DeRuntz]

Leslie,

You might want to revisit Baumgaertner's value-massing "lecture". This is one of the most important issues in translating life to two dimensions. Your darks are the same value in the lit area of the cast as they are in the shadowed area of the cast, which flattens the form.

Many others on the forum give excellent advice on value-massing; try your forum search feature with the terms "values," "value-massing," and "single light source".

[Steven Sweeney]

Leslie,

This isn't bad for a first cast drawing, while trying to learn to manipulate the charcoal medium as well. You selected a very complicated cast to draw. (I'm unable to tell from your notes whether you actually drew "from life" -- that is, whether you had the cast in front of you -- or whether this is from a photograph. If the latter, then that would explain some of the difficulties with value massing.)

It may be of interest to know that even the academy student would begin with a much simpler, less detailed cast, on which the value masses tended to "group" naturally in fairly large, distinct areas. In my own practice, I tried in my initial drawing to assign to the entirety of each of those value shapes a single value, chosen from a range of only five values, running from white to black. Even in the beard area, you want to think of it as a form, rather than "hairs" (or "whiskers") and be very broad in laying in the form-defining, rather than hair-defining, shapes. Later, you can go back into those larger value shapes and pull out some variations that still lie within that narrow value range. Even on a fairly complex cast, you'll find that values trump detail. As an example, look how much of the beard in the cast drawing in this Classical Drawing thread is without detail, in both the dark and light extremes where form was more important than detail.

The only other thing I'll mention for now is that you have the cast shadow (a bit confusing -- I mean the shadow being cast by the sculpture, not the body shadow on the sculpture) on the same side of the sculpture as the light source. Perhaps you weren't really thinking of that dark form as a shadow, but rather merely as background, but even background has to be consistent with the overall lighting and value scheme.

Good first effort. You'll be surprised at how quickly the next drawings improve as you begin to train your head to look for things and your eye to find ("see") them.

[Leslie Bohoss]

Hi,

Thank you, Mari and Steven.

I'm a nut, (but glad, too). I had the stage you meant (not perfectly but I had it!) Then my mistake: I continued to "expand" my work, to see THE black of charcoal. (Now, I call that: the trap of charcoal. ) I wish I hadn't done it. (The tone range "shifted" too dark.)

Mari, I try to keep in mind all that I read here, but it's not always all on my mind, yet. The drawing was from a video tape (screen). I think there was one light source and many indirect lights. I tried to focus as if there were only one.

Steven, WOW! At first I thought it was a picture of a real sculpture shot in artifical light (warm tone). It is phenomenal, but I still believe you sent a photo of a real sculpture. Paper? Size?

I must be read the topics about value etc. when I have more time (weekend).

Yesterday I found this picture of Moses (NOT my referece picture! Just the same viewpoint.)

Thank you for your time in responding.

Yours,
Leslie

P.S. Steven, I posted a picture of a pastel on velvet - my mistake at translation, not velvet, velour for soft pastel, not Cont

[Josef Sy]

Hello Leslie,

Do you use a spreader (paper stump) to redistribute the charcoal? or your fingers or brush? or all of the above?

[Steven Sweeney]

Paper? Size?

Leslie, the drawing to which I referred you was done on plain white Canson Mi-tientes paper, on the smooth side. I used three hardnesses of charcoal to help -- the lighter the value, the harder the charcoal used, and then the darker, the softer. This prevents your having to grind charcoal into the paper to get a dark value. I sandpapered the charcoal sticks to a sharp point, and used them in conjunction with a kneaded eraser, also shaped to have a sharp point. It's a slow drawing method but works well to get a certain result.

I haven't seen the drawing for some years now (it's in storage in the U.S.) but it was done sight-size, with the easel next to the cast, so I guess the dimensions of the cast must have been roughly 18 x 12 inches, since as I recall, the Canson paper runs about 25 x 19 inches. (I could go check, but that's close enough for our purposes.)

[Leslie Bohoss]

Hello Josef!

I used my fingers (mostly) and a paper stump (estompe) but no brush. And a A3 block paper for general purposes.

Thank you Steven, I didn't have a slightest notion that charcoal has more than one hardness! I found mine in a set for children (school-set).

As for the background, it was my idea, simply for higher contrast.

Happy drawing,
Leslie

[Josef Sy]

Leslie,

Try hammering the stump (the part where charcoal is applied). I find it softens the stump and it is more friendly to the paper. Try using a hog bristle too. I just started using it and I love it. I almost don't use my finger anymore.

[Leslie Bohoss]

Josef,

Thank you for your hammer tip. Do you yourself make the stump or buy it? Next, I'll try make myself, so I can make a sharp point.

Check out for more sculpture pics:
http://www.eleganza.com/index.html
http://www.sculpturegallery.com/

[Josef Sy]

I bought mine. I have several of those stubby ones, really fat. I use them with the sandpaper block. Just rub some compressed charcoal, charcoal pencil or vine Charcoal, and you are ready to do some shading.

Those sites are awesome. I am looking a good reproduction and these are pretty good. But pricey, too.