This is another exercise in visualizing only what’s important and discarding the rest. I learned this technique from Nathan Fowkes, a concept and animation artist whose blog is listed on this page. This is a great way to get a feel for a subject before settling down and getting into details. I used one brush and painted quickly, blending some colors and then letting them dry before adding the background.
This is from a portrait workshop that I used to attend. It’s easier for me to create a more finished looking piece if I can manage to get enough information when sketching a subject. This is an example of my method. In my studio, I transferred the sketch at left to a piece of Arches watercolor paper and then painted it.
The exotic beauty of this model has me placing her in positions of ancient royalty whenever I do a finished rendering of one of her poses.
Theodore Roosevelt overcame a frail childhood to become a boxer, war hero, conservationist, author, cowboy, governor, Nobel prize winner, muckraker, trust buster, vice-president, and finally, immortalized on Mt. Rushmore as the 26th President of the United States. His macho persona, I think, is best described by a speaker at Roosevelt’s own funeral, who declared “Death had to take Roosevelt sleeping, for if he had been awake, there would have been a fight.”
*In Teddy’s day, the word bully meant something great, or, as we would say today, awesome.
This is the same model that appears in my December 28th post. Besides her professionalism, we could always count on her hair being a different color. I chose to highlight that by keeping the rest of this ten minute sketch in monochrome.
These colorful creatures can be seen flitting along the edges of the Wyomissing trail. They are noticeable especially against a snowy background. How do they stay warm all winter?
This is a watercolor on rough paper, but it looked too static when finished, so I scanned it and added some digital snow using Photoshop.
This is a twenty minute pose drawn of a great model whom we unfortunately no longer see. It was sketched on the back of a scrap piece of Bristol board.
Earlier this year my sister gave me a sketchbook of handmade, cotton watercolor paper made by the Amatruda Company, based in Amalfi, Italy. It’s roughly 6″x9″, has four deckle edges and takes a wash beautifully, although the surface falls apart if it gets reworked while wet. So I decided to use it for fast studies – wet washes only, to avoid detailing anything. Two hold-out roses from the sunny side of my home; our pumpkin before carving; and a rogue spaghetti squash from my garden.
Here’s a tree I spotted at a pumpkin patch that we visited with the grandkids. What caught my attention was the way the outer leaves turned color while the center remained green.
This painting is an exercise in value, also known as rhythm. An academic teacher that I knew described value as the lifeblood of a drawing or painting – light values support dark values support light values, etc., across the entire work. It’s a tricky thing to accomplish when using color, so I limited my palette and spent a month on and off tweaking it until I got it right.