Figure Painting- 003

This was the largest I've painted so far. It was a 2 session painting so maybe 5-6 hours to complete. I just began adding colors and working the smaller shapes.

Figure Painting- 002

Christina

Forgot Name

Figure Painting. Word!

Figure Painting- 001

The colors might be kind of funky. I couldn't finish covering the greens.

Figure Drawing- 004

Blue Pencil, 11"x14", 5 minutes

Blue Pencil, 11"x14", 10 minutes

Blue Pencil, 11"x14", 10 minutes

Blue Pencil, 11"x14", 10 minutes

Some figure drawings done since school has started. I've been swamped so I may not be posting as much...

Figure Drawing- 003

Ballpoint Pen and Blue Pencil on paper, 11.5"x8", 5 minutes

Ballpoint Pen and Blue Pencil on paper, 8"x11.5", 5 minutes

Ballpoint Pen on paper, 11.5"x8", 5 minutes

Blue Pencil on paper, 8"x11.5", 2 minutes

Ballpoint Pen on paper, 11.5"x8", 20 minutes

Ballpoint Pen on paper, 8"x11.5", 2 minutes

Here are some figure drawings I have done over the summer. My goal has been to make it more of an experience rather than a systematic analysis of the human body and trying to kick the habit of not being too precious with what it is I produce. Sometimes I try to make notes of analogous descriptions about the subject.

Figure and Drapery Studies

Tonal Figure Drawings, Graphite and White Chalk, (2)8.5"x11"

Figure Drawing, Graphite on Paper, 10"x10"

Drapery Study, Graphite on Paper, 10"x10"

Here's an animation by a Cal Arts student.

Figure Drawing- 002

Graphite on paper, 8.5"x11", 1 minute

Graphite on paper, (2)8.5"x11", 2 minutes

Graphite and Ballpoint pen on paper, (2)8.5"x11", 10 and 20 minutes

I've been learning new techniques as well as mastering old ones over this semester. I believe Professor Chai showed us a Vilppu video and explained to the class that we should take our time with the drawings. Many students in the class were trying to get full figures completed resulting in a rushed drawing.

There are so many things I had to keep in mind in these drawings. I always find some trouble in retaining the gesture of the figures after constructing and placing in anatomy. Proportions were also an issue for me because I grew a habit of exagerrating poses which led me to relearning previous studies. Using the Vilppu and Walt Stanchfield techniques were very helpful and I'm currently trying to finish those up thoroughly so I can I apply those concepts and hopefully it'll remedy those problems. study study study.

Academics- Intermediate Illustration

Assignments from my Illustration Class. I learned much from this semester and developed my knowledge of color more, though I still need further progression. My painting skills grew immensely and I learned how to "render," where you basically copy everything tonally to the core.

Mass Grave Reversal

Here's that reversal project. I finally got a good pic, shooting for the portfolio (sorry Kristina). It's not done and there are alot of tiny shapes everywhere. I also can't bring out the white as much. I was actually about to use white chalk but it started to get really repetitive and boring. This was my first real understanding of tones.

Figure Drawing- 001

Just been practicing Sheldon's process: gesture, structure, anatomy, and then blurring the lines in between. Actually, he says to them at the same time. These were either just 10 or 2 minute poses. My current goal is to achieve the volume while still retaining the gesture and the "Cal State Cools" are helping tremendously.

Here is an interesting insight I read about James Jean's process.

I'm also interested in what you've referred to as a "matrix of rules" pertaining to how your creative ideas come about. Can you explain what you mean by this?
Once you put anything within the boundaries of a picture, you start to create relationships. Scale, color, perspective, texture—your mind starts making connections between these qualifications. Once you have characters in a space, they intensity of the relationships becomes very literal. I try to orchestrate these relationships so that they are ambigious yet believable. A good way to pull that off is to understand "the rules" that I've created in the picture. Once you create an action—say if a character is in repose or if that particular part of the composition is in darkness—then there must be an opposing force to have put that character in that position or to have cast that park of the picture in shadow. I draw this world until it reaches a kind of balance, until each action is accounted for in some way.

Also, some interviews of my favorite artists of all time...