Bargue, The Figure and Grisaille in Oils!

Wow – A lot to post today. The fruits of a busy and really productive week. First up – The figure!

This is my second figure drawing from a live model using the sight-size method I am learning at the studio. It is a really slow start in that this is about eight hours of drawing. I have so far to go but I have come so far since my first attempt. I am focusing on the block in now. I cannot even grok shadow shapes yet and it feels like getting there is akin to going to mars. I know one day I will be doing shadow but I want my block ins to be confident and strong first. Below is my first attempt at a figure, my first session with this figure and my final session. Lisa and Jonathan are amazing teachers and help me to really understand what I am seeing, how to prioritize all the input and how to capture it.

And then there are the Bargue drawings.  This is my previous work compared to this weeks work. The Bargue drawings are incessant. The big realization I came to last week: The closer you get, the farther you are. Truth.

Finally, to the oil painting. This is not under the direct instruction of LIsa but it is under her guidance. In a traditional atelier you would spend months to years drawing before you ever pick up a brush. Well, I am getting a late start at this whole training thing and I am burning daylight. So I must paint. It is my heart. Under Lisa’s direction I am re-beginning my oil painting studies using indirect painting in grisaille (gray values) only. For most additional instruction I seek to find the best sources of information and apply it to the best of my ability. I applaud the atleliers and artists that are so open about methods and materials.

Below are my under paintings and the “open grisaille” beginnings along with the reference material I am working from. I have no room in my very small apartment for a still life so I am relegated to working with photos of still lives I have put together. The drawings are done using the techniques I am learning in my program. The under painting is a burnt umber. The grisaille palette is a value string made of a mixture of ivory black and burnt umber for the dark and titanium white for the light. I am using a nine value string. My lean medium for my open grisaille is turpenoid with a tad of liquin to assist drying time. My fat medium will have a little more of the liquin.
Other than that, in terms of application I feel like I am learning to drive for the first time and I am out of control of the car.

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