Thursday 29 April 2010
(Traveling with family; opportunity to work almost nil.)
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 458-475
Total time: 31 minutes
Thursday, April 29, 2010
Wednesday, April 28, 2010
Tuesday, April 27, 2010
Tuesday 27 April 2010
(Traveling with family; opportunity to work limited.)
Reading:
Howard Etter & Margit Malmstrom Perspective for Painters
Watson-Guptill Publications, New York, Pp 32-73
Personal sketchbook work: A poor copy in graphite pencil of the track light previously done with water-soluble pencil.
Total time: 39 minutes
(Traveling with family; opportunity to work limited.)
Reading:
Howard Etter & Margit Malmstrom Perspective for Painters
Watson-Guptill Publications, New York, Pp 32-73
Personal sketchbook work: A poor copy in graphite pencil of the track light previously done with water-soluble pencil.
Total time: 39 minutes
Monday, April 26, 2010
Monday 26 April 2010
Course work: Completed (I think) work on the foreground-midground-background drawing: found it necessary to add a few accents in white Conté crayon to offset the slight cream tint of the paper.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 446-457
Howard Etter & Margit Malmstrom Perspective for Painters
Watson-Guptill Publications, New York, Pp7-31
Personal sketchbook work: A sketch in water-soluble pencil of a portion of a track-light fixture.
Landscape drawing check and log:
(The following responses apply primarily to the foreground-midground-background study, as I have commented on the other work as I logged it.)
“In what way did you simplify and select in your study?” I omitted detail in the trees delineating the farther extent of the midground, as well as some midground detail, in order to separate it more clearly from the foreground.
“Were you able to focus on simple shapes and patterns amid all the visual information?” To a considerable extent, yes. The clouds were simplified in order to help keep the eye on the foreground and the terrain features.
“How did you create a sense of distance and form in your sketches?” By decreasing detail and tone in distant objects, and by making distant objects smaller than similar objects nearer the eye. In the extreme foreground, the use of perspective for the gate and the field road approaching it helped in the illusion of depth.
“How did you use light and shade? Was it successful?” The greatest variations in tone are in the foreground, and in the sky nearest to “overhead.” The high ground seen at a distance is only a very light tone, with no indication that it is in fact heavily forested. I think that I was reasonably successful here.
“What additional preliminary work would have been helpful towards the larger study?” I should have done several smaller studies before launching into the larger one. I should also have either used graphite pencil as the medium for the drawing, or spent more time familiarizing myself with the properties of water-soluble pencils.
Total time: 1 hour 14 min
Course work: Completed (I think) work on the foreground-midground-background drawing: found it necessary to add a few accents in white Conté crayon to offset the slight cream tint of the paper.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 446-457
Howard Etter & Margit Malmstrom Perspective for Painters
Watson-Guptill Publications, New York, Pp7-31
Personal sketchbook work: A sketch in water-soluble pencil of a portion of a track-light fixture.
Landscape drawing check and log:
(The following responses apply primarily to the foreground-midground-background study, as I have commented on the other work as I logged it.)
“In what way did you simplify and select in your study?” I omitted detail in the trees delineating the farther extent of the midground, as well as some midground detail, in order to separate it more clearly from the foreground.
“Were you able to focus on simple shapes and patterns amid all the visual information?” To a considerable extent, yes. The clouds were simplified in order to help keep the eye on the foreground and the terrain features.
“How did you create a sense of distance and form in your sketches?” By decreasing detail and tone in distant objects, and by making distant objects smaller than similar objects nearer the eye. In the extreme foreground, the use of perspective for the gate and the field road approaching it helped in the illusion of depth.
“How did you use light and shade? Was it successful?” The greatest variations in tone are in the foreground, and in the sky nearest to “overhead.” The high ground seen at a distance is only a very light tone, with no indication that it is in fact heavily forested. I think that I was reasonably successful here.
“What additional preliminary work would have been helpful towards the larger study?” I should have done several smaller studies before launching into the larger one. I should also have either used graphite pencil as the medium for the drawing, or spent more time familiarizing myself with the properties of water-soluble pencils.
Total time: 1 hour 14 min
Sunday, April 25, 2010
Sunday 25 April 2010
Course work: Further work on the foreground-midground-background drawing. Strengthened the uppermost sky tones a bit. Added a gate (from imagination) to break up the visual barrier of the fence, and to provide a little additional depth to the foreground. Added some detail to the extreme foreground.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 434-445
Personal sketchbook work: A few random objects on or near my desk.
Weekly reflections on learning experience: Moved from working on skies to working on foreground-midground-background in a landscape: at least the latter stays still! By moving things around a bit, and adding clouds and a gate that weren’t present in my original photograph, I am getting near completion of this part of the exercise. Working with water-soluble pencil has proved something of a challenge: I have found it impossible to get a uniform wash. Several applications of pencil and water, interspersed with drying periods, seem to be required. At least in my hands a stiff bristle brush seems to produce better results than a softer watercolor brush.
Total time: 1 hour 25 minutes
Course work: Further work on the foreground-midground-background drawing. Strengthened the uppermost sky tones a bit. Added a gate (from imagination) to break up the visual barrier of the fence, and to provide a little additional depth to the foreground. Added some detail to the extreme foreground.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 434-445
Personal sketchbook work: A few random objects on or near my desk.
Weekly reflections on learning experience: Moved from working on skies to working on foreground-midground-background in a landscape: at least the latter stays still! By moving things around a bit, and adding clouds and a gate that weren’t present in my original photograph, I am getting near completion of this part of the exercise. Working with water-soluble pencil has proved something of a challenge: I have found it impossible to get a uniform wash. Several applications of pencil and water, interspersed with drying periods, seem to be required. At least in my hands a stiff bristle brush seems to produce better results than a softer watercolor brush.
Total time: 1 hour 25 minutes
Saturday, April 24, 2010
Saturday 24 April 2010
Course work: Further work on the foreground-midground-background drawing. Today I added cloud elements based on yesterday’s sketchbook, as the photograph I am working from was taken on a clear-sky day. The decreasing size of the cumulus clouds and the diminishing tonal contrast toward the horizon aid in creating the impression of depth in the drawing.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 422-433
Personal sketchbook work: A little sketch of part of a paddock, with a run-in shed for the horses, and a background treeline, done in my pocket sketchbook.
Total time: 1 hour 31 min
Course work: Further work on the foreground-midground-background drawing. Today I added cloud elements based on yesterday’s sketchbook, as the photograph I am working from was taken on a clear-sky day. The decreasing size of the cumulus clouds and the diminishing tonal contrast toward the horizon aid in creating the impression of depth in the drawing.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 422-433
Personal sketchbook work: A little sketch of part of a paddock, with a run-in shed for the horses, and a background treeline, done in my pocket sketchbook.
Total time: 1 hour 31 min
Friday, April 23, 2010
Friday 23 April 2010
Course work: Further work on the foreground-midground-background drawing.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 398-421
Personal sketchbook work: A cloud sketch with water-soluble pencil, a medium that combines many of the inconveniences of watercolor and graphite. I am experimenting with various methods for improving my handling. These clouds were drawn from my back porch, looking southwest.
Total time: 1hour 28 min
Course work: Further work on the foreground-midground-background drawing.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 398-421
Personal sketchbook work: A cloud sketch with water-soluble pencil, a medium that combines many of the inconveniences of watercolor and graphite. I am experimenting with various methods for improving my handling. These clouds were drawn from my back porch, looking southwest.
Total time: 1hour 28 min
Thursday, April 22, 2010
Thursday 22 April 2010
Course work: Started work on my foreground-midground-background drawing, working with a photograph taken about 4 km away, with a foreground barbed-wire fence, midground pasturage, a tree line at about 400 meters, and a partially-visible distant tree line across the Broad River, about 9 km away. For this drawing I decided to give water-soluble pencil a try.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 380-397
Personal sketchbook work: Some experimentation with water-soluble pencil, in preparation for the above-referenced drawing.
Total time: 1 hour 15 minutes
Course work: Started work on my foreground-midground-background drawing, working with a photograph taken about 4 km away, with a foreground barbed-wire fence, midground pasturage, a tree line at about 400 meters, and a partially-visible distant tree line across the Broad River, about 9 km away. For this drawing I decided to give water-soluble pencil a try.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 380-397
Personal sketchbook work: Some experimentation with water-soluble pencil, in preparation for the above-referenced drawing.
Total time: 1 hour 15 minutes
Wednesday, April 21, 2010
Wednesday 21 April 2010
I have now been released by my cardiologist to work toward resumption of full normal activity, and my most dangerous medication has been discontinued. This should soon make my outdoors work easier and safer: my previous outdoors work for this assignment has all been done within 200 meters of the house.
Course work: Another pastel sketch of cirrus clouds on a blue base. I found it particularly difficult to suggest depth here. Although I am not entirely satisfied with my cloud studies, I think it is time to proceed to the next part of the exercise.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 368-379
Personal sketchbook work: A “found” still-life: items set out to prepare a meal, done with pencil, then repeated with charcoal. I’m not happy with either of these: I’m having trouble getting my drawing media to cooperate with me.
Total time: 1 hour 9 minutes
I have now been released by my cardiologist to work toward resumption of full normal activity, and my most dangerous medication has been discontinued. This should soon make my outdoors work easier and safer: my previous outdoors work for this assignment has all been done within 200 meters of the house.
Course work: Another pastel sketch of cirrus clouds on a blue base. I found it particularly difficult to suggest depth here. Although I am not entirely satisfied with my cloud studies, I think it is time to proceed to the next part of the exercise.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 2)
Taschen, Köln, 2005
Pp 368-379
Personal sketchbook work: A “found” still-life: items set out to prepare a meal, done with pencil, then repeated with charcoal. I’m not happy with either of these: I’m having trouble getting my drawing media to cooperate with me.
Total time: 1 hour 9 minutes
Sunday, April 18, 2010
Sunday 18 April 2010
Course work: Another beautiful…and cloudless…day. I decided to try some cirrus clouds, so I lightly washed a page of my sketchbook with cobalt blue watercolor, then used white pastel to sketch in the cirrus clouds. I then laid down a well-rubbed layer of charcoal on another page, used an eraser to rub out some clouds, and added a little charcoal to the darker areas. Although these exercises stretched the limits of what was requested by the text, I found both useful. The cumulus study lacks depth, as it is drawn from a small segment of a larger photograph.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 332-355 (This is a book that is best savored by reading a little at a time, as it is very information-dense. I look forward to starting Volume 2.)
Personal sketchbook work: A sketch of the trunk of an old, worn-out pecan tree, in my pocket sketchbook.
Weekly reflections on learning experience: A disproportionate number of my sky sketches have been done from photographs, simply because we have few clouds at this time of the year. I will continue to keep an eye open for interesting sky phenomena.
Total time: 1 hour 17 minutes
Course work: Another beautiful…and cloudless…day. I decided to try some cirrus clouds, so I lightly washed a page of my sketchbook with cobalt blue watercolor, then used white pastel to sketch in the cirrus clouds. I then laid down a well-rubbed layer of charcoal on another page, used an eraser to rub out some clouds, and added a little charcoal to the darker areas. Although these exercises stretched the limits of what was requested by the text, I found both useful. The cumulus study lacks depth, as it is drawn from a small segment of a larger photograph.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 332-355 (This is a book that is best savored by reading a little at a time, as it is very information-dense. I look forward to starting Volume 2.)
Personal sketchbook work: A sketch of the trunk of an old, worn-out pecan tree, in my pocket sketchbook.
Weekly reflections on learning experience: A disproportionate number of my sky sketches have been done from photographs, simply because we have few clouds at this time of the year. I will continue to keep an eye open for interesting sky phenomena.
Total time: 1 hour 17 minutes
Saturday, April 17, 2010
Saturday 17 April 2010
Course work: An approaching front provided some cirrocumulus clouds to draw. I rubbed some charcoal dust to make a fairly uniform background, then worked in the cloud forms with white Conté crayon, but quickly discovered this wasn’t white enough, and switched to white pastel, which produced a somewhat better result, though lacking in depth because I was looking upward at about a 45° angle,
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 327-331
Eric Sloane Skies and the Artist
Dover Publications, Inc. Mineola, New York, USA, 2006
Pp1-39
(This very brief work is almost all illustrations, but contains some useful ideas concerning cloud drawing and painting. It is a reprint of a book first published in 1950.)
Personal sketchbook work: A quick drawing of our black cat sleeping, done with white and black Conté crayon.
Total time: 1 hour 9 minutes
Course work: An approaching front provided some cirrocumulus clouds to draw. I rubbed some charcoal dust to make a fairly uniform background, then worked in the cloud forms with white Conté crayon, but quickly discovered this wasn’t white enough, and switched to white pastel, which produced a somewhat better result, though lacking in depth because I was looking upward at about a 45° angle,
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 327-331
Eric Sloane Skies and the Artist
Dover Publications, Inc. Mineola, New York, USA, 2006
Pp1-39
(This very brief work is almost all illustrations, but contains some useful ideas concerning cloud drawing and painting. It is a reprint of a book first published in 1950.)
Personal sketchbook work: A quick drawing of our black cat sleeping, done with white and black Conté crayon.
Total time: 1 hour 9 minutes
Friday, April 16, 2010
Friday 16 April 2010
Course work: Since no clouds were visible, using charcoal, and working from my photo collection, I sketched a sky with stratus clouds hovering over a treeline: the trees add substantially to the impression of depth. Then using sanguine Conté and charcoal, sketched a post-sunset sky with red and grey stratus clouds from my photo collection: this was a much less convincing effort. Late in the afternoon, some cumulus clouds with a tendency to develop toward cumulonimbus appeared, and I sketched some of these with charcoal. The tone of the cloud bases is virtually identical to that of the blue sky, and the cloud bases appear to blend almost imperceptibly into the sky. When I returned to the porch later, I noticed a strong tendency to vertical cumulus development, and sketched part of this buildup as best I could with a sanguine Conté crayon. Both these cumulus studies are reasonably satisfactory to me.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 320-326
Personal sketchbook work: A quick figure sketch with a sanguine Conté crayon, to refresh some of my Assignment Two learning: I think some review of these earlier assignments is needed.
Total time: 1 hour 34 minutes
Course work: Since no clouds were visible, using charcoal, and working from my photo collection, I sketched a sky with stratus clouds hovering over a treeline: the trees add substantially to the impression of depth. Then using sanguine Conté and charcoal, sketched a post-sunset sky with red and grey stratus clouds from my photo collection: this was a much less convincing effort. Late in the afternoon, some cumulus clouds with a tendency to develop toward cumulonimbus appeared, and I sketched some of these with charcoal. The tone of the cloud bases is virtually identical to that of the blue sky, and the cloud bases appear to blend almost imperceptibly into the sky. When I returned to the porch later, I noticed a strong tendency to vertical cumulus development, and sketched part of this buildup as best I could with a sanguine Conté crayon. Both these cumulus studies are reasonably satisfactory to me.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 320-326
Personal sketchbook work: A quick figure sketch with a sanguine Conté crayon, to refresh some of my Assignment Two learning: I think some review of these earlier assignments is needed.
Total time: 1 hour 34 minutes
Thursday, April 15, 2010
Wednesday, April 14, 2010
Tuesday, April 13, 2010
Tuesday 13 April 2010
Course work: Another cloudless day, and no clouds forecast before Saturday. Rather than lose any more time, I elected to work from my collection of sky photographs. In my course sketchbook, I did an oil-pastel sketch of the base of an evolving cumulonimbus cloud, with some typical summertime cumulus clouds in the distance.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 308-319
Other activity: My painting group met today. I did a 12 x 16 inch oil sketch based on one of the drawings done on 11 April. (Time not included in coursework tally.)
Total time:
1 hour 3 minutes
Course work: Another cloudless day, and no clouds forecast before Saturday. Rather than lose any more time, I elected to work from my collection of sky photographs. In my course sketchbook, I did an oil-pastel sketch of the base of an evolving cumulonimbus cloud, with some typical summertime cumulus clouds in the distance.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 308-319
Other activity: My painting group met today. I did a 12 x 16 inch oil sketch based on one of the drawings done on 11 April. (Time not included in coursework tally.)
Total time:
1 hour 3 minutes
Monday, April 12, 2010
Monday 12 April 2010
Course work: The schedule called for drawing clouds today, but not a one did we have (in springtime here we typically have few clouds unless stormy weather appears). Unless some appear tomorrow, I will start drawing from my collection of over 300 sky photographs (clouds are a long-term interest of mine).
Research point: Clouds
Clouds can be roughly classified as stratus (sheetlike clouds, often associated with rain), cumulus (typically fair-weather clouds, commonest in warmer weather) and cirrus (high, feathery clouds most common in winter, or heralding the arrival of a strong weather system. Stratus clouds can be subdivided into fog, nimbostratus (usually seen with long rainy periods) and altostratus (sheetlike clouds at high altitudes, frequently foretelling rain). Cumulus clouds also include the ominous cumulonimbus thunderheads, the altocumulus clouds reminiscent of a flock of sheep, and the cirrocumulus clouds of mackerel skies. One could add the dramatic-looking but seldom-seen lenticular and mammatus cloud forms, but these are so infrequent that including them in a painting would not appear “natural” to most observers. This listing, while incomplete, should be sufficient for most purposes. A knowledge of cloud forms and the conditions in which they occur is useful to the artist (one wouldn’t ordinarily paint cumulonimbus clouds with a snowscape or altocumulus over a rough sea), and becoming familiar with the significance of cloud forms and wind directions in one’s own area has the practical value of reducing the risk of being caught in a downpour far from home with a heavy easel.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 284-307
Personal sketchbook work: My reliable old friend, a towel on a hook (this at least is one thing I’m drawing better…perhaps I should do a series.)
Total time: 53 minutes
Course work: The schedule called for drawing clouds today, but not a one did we have (in springtime here we typically have few clouds unless stormy weather appears). Unless some appear tomorrow, I will start drawing from my collection of over 300 sky photographs (clouds are a long-term interest of mine).
Research point: Clouds
Clouds can be roughly classified as stratus (sheetlike clouds, often associated with rain), cumulus (typically fair-weather clouds, commonest in warmer weather) and cirrus (high, feathery clouds most common in winter, or heralding the arrival of a strong weather system. Stratus clouds can be subdivided into fog, nimbostratus (usually seen with long rainy periods) and altostratus (sheetlike clouds at high altitudes, frequently foretelling rain). Cumulus clouds also include the ominous cumulonimbus thunderheads, the altocumulus clouds reminiscent of a flock of sheep, and the cirrocumulus clouds of mackerel skies. One could add the dramatic-looking but seldom-seen lenticular and mammatus cloud forms, but these are so infrequent that including them in a painting would not appear “natural” to most observers. This listing, while incomplete, should be sufficient for most purposes. A knowledge of cloud forms and the conditions in which they occur is useful to the artist (one wouldn’t ordinarily paint cumulonimbus clouds with a snowscape or altocumulus over a rough sea), and becoming familiar with the significance of cloud forms and wind directions in one’s own area has the practical value of reducing the risk of being caught in a downpour far from home with a heavy easel.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 284-307
Personal sketchbook work: My reliable old friend, a towel on a hook (this at least is one thing I’m drawing better…perhaps I should do a series.)
Total time: 53 minutes
Sunday, April 11, 2010
Sunday 11 April 2010
Research point: Working in series in the landscape
Many artists have worked in series in the landscape, among them Cezanne with his repeated painting of Mount Saint-Victoire and the Bay of Marseille, and Monet, with his haystacks and his paintings of the cathedral at Rouen. I recently read of a painter who produced 365 paintings of a pond near his home, one on each day of the year, and I know a painter who has painted at the same spot on the Savannah River for at least ten years. The problems of series paintings of landscapes are those of en plein aire painting: light changes so rapidly that one can only paint for an hour or two, and must then return on another day, hoping for similar light (or start a new painting in different lighting). Changing weather conditions are likewise a problem. I would imagine that finding something new to say about a view seen repeatedly might be a challenge as well. One big advantage: you don’t have to get up in the morning and wonder what you are going to paint that day.
Course work: Returned to my drawing site of yesterday at mid-day, and drew a view of part of the driveway looking west (from a viewpoint very near that used for one drawing on the sketchbook walk), then moved about twenty feet east and drew a view of the entrance of the barnyard, facing south.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 272-283
Edgar Loy Fankbonner (Translator…no author listed) Art of Drawing Landscapes
Sterling Publishing Company, New York, 2005
Personal sketchbook work: A hasty and incomplete sketch through a window of a deer alertly grazing near the house.
Weekly reflections on learning experience: Transitioned from Assignment Three to Assignment Four this week. Although landscape is a major interest of mine, virtually all my experience is in painting it, not in drawing it, and I am rather disappointed with my drawings so far. They appear to be satisfactory as drawings for planning a painting, but nothing more. I am also disappointed that I seem to have lost a good bit of skill during the period that I was ill, and now have difficulty getting the pencil to go where I want it to go. I suppose this means I should increase my effort and draw more. The number of “Research Points,” which consume a great deal of “off-the-books” time, has proved annoying.
Total time: 1 hour 16 minutes
Research point: Working in series in the landscape
Many artists have worked in series in the landscape, among them Cezanne with his repeated painting of Mount Saint-Victoire and the Bay of Marseille, and Monet, with his haystacks and his paintings of the cathedral at Rouen. I recently read of a painter who produced 365 paintings of a pond near his home, one on each day of the year, and I know a painter who has painted at the same spot on the Savannah River for at least ten years. The problems of series paintings of landscapes are those of en plein aire painting: light changes so rapidly that one can only paint for an hour or two, and must then return on another day, hoping for similar light (or start a new painting in different lighting). Changing weather conditions are likewise a problem. I would imagine that finding something new to say about a view seen repeatedly might be a challenge as well. One big advantage: you don’t have to get up in the morning and wonder what you are going to paint that day.
Course work: Returned to my drawing site of yesterday at mid-day, and drew a view of part of the driveway looking west (from a viewpoint very near that used for one drawing on the sketchbook walk), then moved about twenty feet east and drew a view of the entrance of the barnyard, facing south.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 272-283
Edgar Loy Fankbonner (Translator…no author listed) Art of Drawing Landscapes
Sterling Publishing Company, New York, 2005
Personal sketchbook work: A hasty and incomplete sketch through a window of a deer alertly grazing near the house.
Weekly reflections on learning experience: Transitioned from Assignment Three to Assignment Four this week. Although landscape is a major interest of mine, virtually all my experience is in painting it, not in drawing it, and I am rather disappointed with my drawings so far. They appear to be satisfactory as drawings for planning a painting, but nothing more. I am also disappointed that I seem to have lost a good bit of skill during the period that I was ill, and now have difficulty getting the pencil to go where I want it to go. I suppose this means I should increase my effort and draw more. The number of “Research Points,” which consume a great deal of “off-the-books” time, has proved annoying.
Total time: 1 hour 16 minutes
Saturday, April 10, 2010
Saturday 10 April 2010
Research point on pentimenti and restatements:
“Pentimento” is a term used more often in painting than in drawing, referring to the appearance of an underdrawing, an altered portion of a painting, or a previous painting from beneath the finished painting’s surface, because of wear, chemical phenomena, or aging, or such changes detected by technical methods such as radiography or infra-red reflectometry. The term as used in drawing would refer to an erroneous line or passage left in place, and is so closely related to “restatement” as to make the two terms difficult to separate. Restatements are often “thought lines;” the presence of a less desirable line is often a useful guide as to the placement of a more correct one. Frequently seen in old masters’ drawings, pentimenti and restatements may also reflect the relative non-erasability of the media often employed, as well as the non-availability of any usable eraser other than fresh bread, resulting in the retention of these lines. I have included three drawings by Leonardo da Vinci, and one each by Durer, Raphael, Giulio Romano and Perino del Vaga to illustrate the concepts.
Course work: Finding an expansive landscape with an open view in all directions has proved a challenge: I have compromised on a site with a good view in three directions and a twenty-foot walk for a view in the fourth. Today, using my compass for orientation and my viewfinder for selection, I drew the views to the north and east. The view to the north is crossed by the graveled driveway, and has grass, shrubs, and a small pine to the right, with larger trees across the driveway. The view to the east includes an electric pole, part of a paddock fence ascending and descending a gentle rise, and a distant wall of pines. Parenthetically, fifteen minutes is not enough time to do more than loosely sketch in the major details, and this exercise seems quite similar to the sketchbook walk, but with less walking.
Reading:
Christopher Brown Dutch Painting
Phaidon Press Limited, London, 1976
Pp3-14 + 48 color plates
(A fairly superficial text, offset by the large and well-selected group of color plates)
Personal sketchbook work: Found several small stands of wild violets while I was out wandering around: brought one home to sketch with colored pencils in my pocket sketchbook.
Total time: 2 hours 13 minutes
Research point on pentimenti and restatements:
“Pentimento” is a term used more often in painting than in drawing, referring to the appearance of an underdrawing, an altered portion of a painting, or a previous painting from beneath the finished painting’s surface, because of wear, chemical phenomena, or aging, or such changes detected by technical methods such as radiography or infra-red reflectometry. The term as used in drawing would refer to an erroneous line or passage left in place, and is so closely related to “restatement” as to make the two terms difficult to separate. Restatements are often “thought lines;” the presence of a less desirable line is often a useful guide as to the placement of a more correct one. Frequently seen in old masters’ drawings, pentimenti and restatements may also reflect the relative non-erasability of the media often employed, as well as the non-availability of any usable eraser other than fresh bread, resulting in the retention of these lines. I have included three drawings by Leonardo da Vinci, and one each by Durer, Raphael, Giulio Romano and Perino del Vaga to illustrate the concepts.
Course work: Finding an expansive landscape with an open view in all directions has proved a challenge: I have compromised on a site with a good view in three directions and a twenty-foot walk for a view in the fourth. Today, using my compass for orientation and my viewfinder for selection, I drew the views to the north and east. The view to the north is crossed by the graveled driveway, and has grass, shrubs, and a small pine to the right, with larger trees across the driveway. The view to the east includes an electric pole, part of a paddock fence ascending and descending a gentle rise, and a distant wall of pines. Parenthetically, fifteen minutes is not enough time to do more than loosely sketch in the major details, and this exercise seems quite similar to the sketchbook walk, but with less walking.
Reading:
Christopher Brown Dutch Painting
Phaidon Press Limited, London, 1976
Pp3-14 + 48 color plates
(A fairly superficial text, offset by the large and well-selected group of color plates)
Personal sketchbook work: Found several small stands of wild violets while I was out wandering around: brought one home to sketch with colored pencils in my pocket sketchbook.
Total time: 2 hours 13 minutes
Friday, April 9, 2010
Friday 9 April 2010
Course work: Resumed the sketchbook walk interrupted by rain yesterday: today’s weather fine and clear. Did three more sketches.
Research Point concerning artist’s depictions of landscapes: Paleolithic artists, despite their skill in depicting animals, do not appear to have included landscape elements in their work. The Neolithic ceramicists and stone carvers likewise neglected landscape in favor of human and animal figures, and pure design. The earliest landscape elements I found in my research were grass and flowers in the background of an Egyptian painting of some geese done ca. 2550 B.C.E. Symbols representing palm trees are also a frequent feature in Egyptian art. Some examples of Mycenaean goldware dating from about 1475 B.C.E. included highly stylized trees as background elements. Etruscan tomb paintings, ceramics, and metalware of around 475 B.C.E. depicted stylized landscape elements, predominately trees and shrubs. Most Roman paintings and mosaics that have survived which included trees, plants, or flowers did so with little other reason than to provide a background for figural work, or to serve as pure decoration. However, excavations at Pompeii revealed a number of paintings in which the landscape itself was the subject.
Chinese landscape painting had emerged by about 600 A.D., and its style and technique have changed remarkably little over the ensuing centuries: although landscape features follow stylistic rules, the paintings appear far more realistic than European work of the same era. Japanese painting followed Chinese styles fairly closely in the earlier years, with some divergence in more recent times.
The Americas produced virtually nothing in the way of landscape art in the pre-colonial era, despite remarkable expertise in painting and carving human and animal representations. The Maya were the most prolific painters in the pre-colonial Americas: an examination of photographs of 93 pieces of Mayan polychrome ceramic ware showed two symbolic depictions of the “tree of life” and one highly stylized representation of the cave thought to be the entrance to the underworld, but nothing else that could be considered a landscape feature.
European landscape painting of the Medieval and early Renaissance eras was seldom more than “filler” in the background of a figural work, usually religious in nature. The buildings, trees, mountains, and ships depicted were often drawn either from the artist’s observations of his own surroundings, from his imagination, or both, thus anachronism is very common in these paintings. As knowledge of perspective began to spread, works were produced in which the foreground and middle ground appeared quite natural, but the landscape elements in the background were the same old symbols long in use. It is possible that some of this background work was done by apprentices, which would explain the foreground-background disparity.
Later in the Renaissance, landscape painting began to emerge as a genre worthwhile in itself, not just as a decorative addition to figurative work. The strange imagined landscapes of Bosch still intrigue and perplex us. Leonardo da Vinci painted natural-appearing landscape elements, though these were still primarily background for figurative work. Giorgione and Bellini both produced some works in which the landscape was a more important element than the included figures, although religious work still constituted the majority of their output.
Following the Reformation, the demand for religious painting decreased, especially in northern Europe, and painters turned to other subjects, one of which was landscape. Dutch 17th century painters included a number of gifted landscape painters (even more if one includes the painters of seascapes and cityscapes). Perhaps the greatest of these was Jacob van Ruisdael, whose largely-invented landscapes nevertheless convey the feeling of having been painted on site. He makes no attempt at simplification: it seems that every leaf on every tree must be painted. His skies are particularly convincing. Aelbert Cuyp and Meyndert Hobbema also produced landscapes that exhibit the attention to detail and the dramatic lighting so often seen in Dutch paintings of this era.
The Rococo period, from about 1700-1760, used landscape primarily as a stage setting for people enjoying themselves. The movement was especially strong in France, where Antoine Watteau and Jean-Honore Fragonard were major figures, although
Watteau painted far more pictures employing landscape. This landscape was often simplified and stylized. Thomas Gainsborough and to a lesser extent Sir Joshua Reynolds painted in what one could call an English Rococo style, with landscape elements a little more realistic (and people a little more serious in demeanor) than the French works. Giovanni Battista Tiepolo represented the movement in Italy.
Academism had a long history as a movement, overlapping the Baroque and Rococo eras, and extending beyond them; it now seems to be making a rather strong comeback. This movement was strongly oriented toward accurate drawing and representation of classical ideals. Sir Joshua Reynolds and George Stubbs were major English exemplars: Stubbs’ background landscapes seem almost as important as his subjects. The French Academic movement was particularly strong, though it was carried to extremes and led to stagnation. Many of the Academic painters could also be considered Neo-classicists, although Neo-classicists as a group had relatively little interest in the landscape for itself.
The 19th century brought new schools of painting, and a new efflorescence of interest in the landscape. Many of the Romantic painters were landscape painters, including perhaps the greatest of them all, J.M. W Turner, whose work progressed over the years from fairly straightforward landscapes to romantic landscapes to those great later works which in my opinion should be regarded as the first and perhaps the purest examples of Impressionism.
The American Hudson River School produced highly detailed and dramatically illuminated landscapes, first of the Hudson River Valley, later of many American wilderness areas, and eventually of other parts of the world.
The Pre-Raphaelites had a strong interest in naturalistic detail, which often led to striking landscapes, usually as a setting for figural work, although John William Inchbold excelled at pure landscapes.
The Impressionist school emerged strongly in France about 1860, spread rapidly across the world, and persists to a considerable extent today. Impressionist painters were (and are) strongly interested in light and color, and less interested in detail, tonal differences, or precise rendition.
A wide variety of new schools of painting emerged in the 20th century. Many of these not only rejected landscape as a valid subject, but rejected realism altogether. Nevertheless, many painters continued to produce landscape work, often ignored by the critics and the major galleries. Edward Hopper comes immediately to mind, described as the “painter of loneliness.” His work has a great deal in common with that of Laurence Lowry in that both considered people more as decorations for cityscapes than vice versa. Among contemporary painters who often paint landscapes, the names Trevor Chamberlain and Ken Howard come to mind.
The landscape continues to attract both the professional and the amateur painter, and landscapes continue to be appreciated by those who can decide for themselves what constitutes good painting. Long may it be so.
Major references:
(No author or editor cited) 30,000 Years of Art
Phaidon Press, Ltd, London, 2007
E.H. Gombrich, The Story of Art
Phaidon press Limited, Oxford 1978
Dorie Reents-Budet Painting the Maya Universe: Royal Ceramics of the Classic Period Duke University Press, Durham, NC, USA, 1994
Peter and Linda Murray The Art of the Renaissance
Thames and Hudson, London, 1963
Rose-Marie & Ranier Hagen What Great Paintings Say (Vols. 1 & 2)
Taschen, Köln, 2005
Christopher Brown Dutch Painting
Phaidon Press Limited, London, 1976
Ian Warrell (Ed.) J.M.W. Turner
Tate Publishing, London, 2007
Louise Minks The Hudson River School
Barnes and Noble Books, New York, 2005
Sandra Forty The Pre-Raphaelites
Barnes and Noble Books, New York, 1997
Richard R. Brettell Impression: Painting Quickly in France 1860-1890
Yale University Press, New Haven, Connecticut, USA, 2000
Walter Wells Silent Theater: The Art of Edward Hopper
Phaidon Press Limited, London, 2007
(Reference on Laurence Lowry) http://www.britannica.com/EBchecked/topic/350046/L-S-Lowry
Online museum:
http://www.artrenewalcom/index.php
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 266-271
Personal sketchbook work: A drawing of a wooden kitchen spoon.
Total time: 1 hour 56 minutes
Course work: Resumed the sketchbook walk interrupted by rain yesterday: today’s weather fine and clear. Did three more sketches.
Research Point concerning artist’s depictions of landscapes: Paleolithic artists, despite their skill in depicting animals, do not appear to have included landscape elements in their work. The Neolithic ceramicists and stone carvers likewise neglected landscape in favor of human and animal figures, and pure design. The earliest landscape elements I found in my research were grass and flowers in the background of an Egyptian painting of some geese done ca. 2550 B.C.E. Symbols representing palm trees are also a frequent feature in Egyptian art. Some examples of Mycenaean goldware dating from about 1475 B.C.E. included highly stylized trees as background elements. Etruscan tomb paintings, ceramics, and metalware of around 475 B.C.E. depicted stylized landscape elements, predominately trees and shrubs. Most Roman paintings and mosaics that have survived which included trees, plants, or flowers did so with little other reason than to provide a background for figural work, or to serve as pure decoration. However, excavations at Pompeii revealed a number of paintings in which the landscape itself was the subject.
Chinese landscape painting had emerged by about 600 A.D., and its style and technique have changed remarkably little over the ensuing centuries: although landscape features follow stylistic rules, the paintings appear far more realistic than European work of the same era. Japanese painting followed Chinese styles fairly closely in the earlier years, with some divergence in more recent times.
The Americas produced virtually nothing in the way of landscape art in the pre-colonial era, despite remarkable expertise in painting and carving human and animal representations. The Maya were the most prolific painters in the pre-colonial Americas: an examination of photographs of 93 pieces of Mayan polychrome ceramic ware showed two symbolic depictions of the “tree of life” and one highly stylized representation of the cave thought to be the entrance to the underworld, but nothing else that could be considered a landscape feature.
European landscape painting of the Medieval and early Renaissance eras was seldom more than “filler” in the background of a figural work, usually religious in nature. The buildings, trees, mountains, and ships depicted were often drawn either from the artist’s observations of his own surroundings, from his imagination, or both, thus anachronism is very common in these paintings. As knowledge of perspective began to spread, works were produced in which the foreground and middle ground appeared quite natural, but the landscape elements in the background were the same old symbols long in use. It is possible that some of this background work was done by apprentices, which would explain the foreground-background disparity.
Later in the Renaissance, landscape painting began to emerge as a genre worthwhile in itself, not just as a decorative addition to figurative work. The strange imagined landscapes of Bosch still intrigue and perplex us. Leonardo da Vinci painted natural-appearing landscape elements, though these were still primarily background for figurative work. Giorgione and Bellini both produced some works in which the landscape was a more important element than the included figures, although religious work still constituted the majority of their output.
Following the Reformation, the demand for religious painting decreased, especially in northern Europe, and painters turned to other subjects, one of which was landscape. Dutch 17th century painters included a number of gifted landscape painters (even more if one includes the painters of seascapes and cityscapes). Perhaps the greatest of these was Jacob van Ruisdael, whose largely-invented landscapes nevertheless convey the feeling of having been painted on site. He makes no attempt at simplification: it seems that every leaf on every tree must be painted. His skies are particularly convincing. Aelbert Cuyp and Meyndert Hobbema also produced landscapes that exhibit the attention to detail and the dramatic lighting so often seen in Dutch paintings of this era.
The Rococo period, from about 1700-1760, used landscape primarily as a stage setting for people enjoying themselves. The movement was especially strong in France, where Antoine Watteau and Jean-Honore Fragonard were major figures, although
Watteau painted far more pictures employing landscape. This landscape was often simplified and stylized. Thomas Gainsborough and to a lesser extent Sir Joshua Reynolds painted in what one could call an English Rococo style, with landscape elements a little more realistic (and people a little more serious in demeanor) than the French works. Giovanni Battista Tiepolo represented the movement in Italy.
Academism had a long history as a movement, overlapping the Baroque and Rococo eras, and extending beyond them; it now seems to be making a rather strong comeback. This movement was strongly oriented toward accurate drawing and representation of classical ideals. Sir Joshua Reynolds and George Stubbs were major English exemplars: Stubbs’ background landscapes seem almost as important as his subjects. The French Academic movement was particularly strong, though it was carried to extremes and led to stagnation. Many of the Academic painters could also be considered Neo-classicists, although Neo-classicists as a group had relatively little interest in the landscape for itself.
The 19th century brought new schools of painting, and a new efflorescence of interest in the landscape. Many of the Romantic painters were landscape painters, including perhaps the greatest of them all, J.M. W Turner, whose work progressed over the years from fairly straightforward landscapes to romantic landscapes to those great later works which in my opinion should be regarded as the first and perhaps the purest examples of Impressionism.
The American Hudson River School produced highly detailed and dramatically illuminated landscapes, first of the Hudson River Valley, later of many American wilderness areas, and eventually of other parts of the world.
The Pre-Raphaelites had a strong interest in naturalistic detail, which often led to striking landscapes, usually as a setting for figural work, although John William Inchbold excelled at pure landscapes.
The Impressionist school emerged strongly in France about 1860, spread rapidly across the world, and persists to a considerable extent today. Impressionist painters were (and are) strongly interested in light and color, and less interested in detail, tonal differences, or precise rendition.
A wide variety of new schools of painting emerged in the 20th century. Many of these not only rejected landscape as a valid subject, but rejected realism altogether. Nevertheless, many painters continued to produce landscape work, often ignored by the critics and the major galleries. Edward Hopper comes immediately to mind, described as the “painter of loneliness.” His work has a great deal in common with that of Laurence Lowry in that both considered people more as decorations for cityscapes than vice versa. Among contemporary painters who often paint landscapes, the names Trevor Chamberlain and Ken Howard come to mind.
The landscape continues to attract both the professional and the amateur painter, and landscapes continue to be appreciated by those who can decide for themselves what constitutes good painting. Long may it be so.
Major references:
(No author or editor cited) 30,000 Years of Art
Phaidon Press, Ltd, London, 2007
E.H. Gombrich, The Story of Art
Phaidon press Limited, Oxford 1978
Dorie Reents-Budet Painting the Maya Universe: Royal Ceramics of the Classic Period Duke University Press, Durham, NC, USA, 1994
Peter and Linda Murray The Art of the Renaissance
Thames and Hudson, London, 1963
Rose-Marie & Ranier Hagen What Great Paintings Say (Vols. 1 & 2)
Taschen, Köln, 2005
Christopher Brown Dutch Painting
Phaidon Press Limited, London, 1976
Ian Warrell (Ed.) J.M.W. Turner
Tate Publishing, London, 2007
Louise Minks The Hudson River School
Barnes and Noble Books, New York, 2005
Sandra Forty The Pre-Raphaelites
Barnes and Noble Books, New York, 1997
Richard R. Brettell Impression: Painting Quickly in France 1860-1890
Yale University Press, New Haven, Connecticut, USA, 2000
Walter Wells Silent Theater: The Art of Edward Hopper
Phaidon Press Limited, London, 2007
(Reference on Laurence Lowry) http://www.britannica.com/EBchecked/topic/350046/L-S-Lowry
Online museum:
http://www.artrenewalcom/index.php
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 266-271
Personal sketchbook work: A drawing of a wooden kitchen spoon.
Total time: 1 hour 56 minutes
Thursday, April 8, 2010
Assignment Four
Thursday 8 April 2010
Course work:
Made a viewing window, but not from the provided instructions. Mine is made from two L-shaped pieces of cardboard, marked so that it adjustable to paper dimensions.
Started on the sketchbook walk: was driven in by heavy rain after making three small sketches with #2 pencil, no erasures, with occasional light rain falling, resulting in some distortion of my paper surface.
Started work on the research point concerning different artist’s depictions of landscapes. This is a big enough topic for a doctoral dissertation, but I’ll try to produce a brief report after I’ve looked into the topic further.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 254-265
Michael Woods Landscape Drawing
B. T. Batsford, London, 1989
Pp 7-37
Total time: 1 hour 11 minutes
Thursday 8 April 2010
Course work:
Made a viewing window, but not from the provided instructions. Mine is made from two L-shaped pieces of cardboard, marked so that it adjustable to paper dimensions.
Started on the sketchbook walk: was driven in by heavy rain after making three small sketches with #2 pencil, no erasures, with occasional light rain falling, resulting in some distortion of my paper surface.
Started work on the research point concerning different artist’s depictions of landscapes. This is a big enough topic for a doctoral dissertation, but I’ll try to produce a brief report after I’ve looked into the topic further.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 254-265
Michael Woods Landscape Drawing
B. T. Batsford, London, 1989
Pp 7-37
Total time: 1 hour 11 minutes
Tuesday, April 6, 2010
Wednesday 6 April 2010
Course work: I think the Assignment Three drawing, which finally evolved as a memento mori, incorporating a bottle, a selection of wild daffodils picked at the roadside, and a skull, is at last finished. Media employed include: graphite pencil, brown ink, black ink, markers, colored pencil, water-soluble colored pencil, white pastel, and a small amount of white acrylic paint used to correct an error. The two media used most extensively (marker and water-soluble colored pencil) are those with which I have had the greatest difficulty. I chose not to include oil pastel, because of its inherent incompatibility with water-soluble media. I think that I could probably have produced a better piece of work using a single medium, but I am sure that being required to use more than one resulted in a useful learning experience. I am far behind my originally-planned schedule (which would have had me almost done with Assignment Four now) but given the circumstances, I fail to see how I could have done much better.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 236-253
Personal sketchbook work: A small manikin sketch.
Total time: 1 hour 9 minutes
Total time for this assignment: 181 hours 53 min
Course work: I think the Assignment Three drawing, which finally evolved as a memento mori, incorporating a bottle, a selection of wild daffodils picked at the roadside, and a skull, is at last finished. Media employed include: graphite pencil, brown ink, black ink, markers, colored pencil, water-soluble colored pencil, white pastel, and a small amount of white acrylic paint used to correct an error. The two media used most extensively (marker and water-soluble colored pencil) are those with which I have had the greatest difficulty. I chose not to include oil pastel, because of its inherent incompatibility with water-soluble media. I think that I could probably have produced a better piece of work using a single medium, but I am sure that being required to use more than one resulted in a useful learning experience. I am far behind my originally-planned schedule (which would have had me almost done with Assignment Four now) but given the circumstances, I fail to see how I could have done much better.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 236-253
Personal sketchbook work: A small manikin sketch.
Total time: 1 hour 9 minutes
Total time for this assignment: 181 hours 53 min
Monday, April 5, 2010
Sunday, April 4, 2010
Sunday 4 April 2010
Course work: Continued work on the Assignment Three drawing, strengthening tones and intensifying color in a few areas. Most of today’s work was done with colored pencil, but some marker was used as well.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 212-223
Weekly reflections on learning experience: Only a little progress was made this week, though I have some expectation of completing the final Assignment 3 drawing soon. On several days I have found myself with more enthusiasm for work than with strength with which to work. My personal sketchbook work has suffered badly during this extended period of poor health.
Total time: 54 minutes
Course work: Continued work on the Assignment Three drawing, strengthening tones and intensifying color in a few areas. Most of today’s work was done with colored pencil, but some marker was used as well.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 212-223
Weekly reflections on learning experience: Only a little progress was made this week, though I have some expectation of completing the final Assignment 3 drawing soon. On several days I have found myself with more enthusiasm for work than with strength with which to work. My personal sketchbook work has suffered badly during this extended period of poor health.
Total time: 54 minutes
Saturday, April 3, 2010
Saturday 3 April 2010
Course work: More work on the Assignment 3 drawing: mostly colored pencil today, with a little pastel. Spent more time making adjustments and corrections than anything else.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 200-211
Total time: 1 hour 16 min
Course work: More work on the Assignment 3 drawing: mostly colored pencil today, with a little pastel. Spent more time making adjustments and corrections than anything else.
Reading:
Rose-Marie & Ranier Hagen What Great Paintings Say (Vol. 1)
Taschen, Köln, 2005
Pp 200-211
Total time: 1 hour 16 min
Thursday, April 1, 2010
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