Forgot to post this one, from the week before last. Slow session, focusing on improving my brushwork. I tend to make hair very helmety, and our instructor is really phenomenal at painting in a, well, painterly fashion. So I watched her for a while and tried to capture some of that in the treatment of the hair.
Here I’ve begun to refine the highlights, using the additional elements of local color I finished up last week. The local color of the background showed how relatively dull the highlights on the face were, though the shadows aren’t too bad relative to the black shirt.
Continuing with the variation on the theme for doing more refined work at the early stages, the local color lay-in this time is much more vibrant than the usual dead color we use. Part of this is the desire to get to later painting stage instruction, despite the time limitations of the class.
Model was running late, so only had around an hour and a half of sitting time, at least a half hour of which was mixing paint. So lots left unfinished, because of both less brush time and less mixing time (didn’t have time to whip up mixes for the hair or lips).
As always, we lose a bit of the drawing at this phase. Getting a little better at not completely wrecking it, though!
Getting close to transferring the schematic over to canvas. Graphite on drawing paper, 16×20.
Continuing with the skirts, I finished out the Dusky Skin triad, to keep things simple. Similarly, I did the same using Clotted and Carnage Reds to finish the hood/sashes.
On to the flesh tones. For the dwarf, I used Muddy Soil, Dark Skin, Redstone Highlight, Tanned Skin and VMC Ivory. For the goblin, it was Black Green, Ghoul Skin, Moldy Skin and VMC Ivory. For the orc, Midnight Blue, Twilight Blue, Snow Shadow and Ghost White.
Finishing up the basecoats. Metals based in Dusky Skin Shadow or Stormy Grey. Hood/scarf in Bloodstain Red, dwarf’s beard in Shadowed Stone.
Tried zenithal priming these guys with an airbrush…results about the same as a rattle can, with way more cleanup. Don’t really want to spend any time learning airbrush skills, so be it.
I then base coated the skin for each as follows: Orc, Twilight Blue; Dwarf, Dark Skin; Goblin, mix of Ghoul Skin and Black Green. Leather, skirts and misc were base coated in Dusky Skin Shadow.
I found a video tutorial for Bargue Plate 49 on the Academy of Realist Art (Toronto)’s site: https://realistartonline.com/courses/drawing-the-bargue/ So I decided to jump ahead to this plate to learn their method for rendering the plates.
I have a scan of the plate that I cut in half, printed on letter-sized paper, and then enlarged on a copier to 11×17. It’s not the best source, I would love to be working off proper full-sized prints. But, it’s close to original size and lends itself to being copied on a standard 18×24 sheet of paper (in this case, I cut the sheet in half and trimmed it).
First we have the completed construct, following the articulation provided on the first half of plate 49. The construct is just a general measured drawing of the basic shapes. Here you can see how I’ve set them up on my drawing board.
Next I refined the construct into the articulation. Still staying with straight, measured lines, I add more information to the drawing. Once I completed the articulation, I massed in the shadow value shapes with an even tone. By the end of this stage, I’d estimate I’m just over 20 hours in.
Next I will transfer this drawing from bristol sketch paper over to bristol smooth paper, which is lovely for smooth values. The method is the same as when I transfer a drawing to canvas for portraiture: rubbing the back with charcoal and lightly going over the shapes so they mark the paper underneath.
Graphite on bristol sketch paper, 12×16.
A friend bought me a book of Da Vinci’s anatomy drawings, so I’m playing around with that this week at work.