Self portrait done it home. They never seem to turn out the way I want.
Showing posts with label nathan fowkes. Show all posts
Showing posts with label nathan fowkes. Show all posts
Thursday, December 15, 2011
Last Head Drawing Class
Last Head Drawing. Did it in class even though I was super tired.
Self portrait done it home. They never seem to turn out the way I want.
Self portrait done it home. They never seem to turn out the way I want.
Saturday, November 26, 2011
Head Drawing - More Heads
Did a couple of self portraits they don't seem to look like me.
Did this at Marchese's uninstructed workshop but I didn't finish. Just got the initial block in.
Did this at Marchese's uninstructed 2 weeks ago. It looks more like a combination of me and the model. I don't know why the model's always start to look like me.
Did this at Marchese's uninstructed workshop but I didn't finish. Just got the initial block in.
Did this at Marchese's uninstructed 2 weeks ago. It looks more like a combination of me and the model. I don't know why the model's always start to look like me.
Did this Head in Nathan's Class. It reminds me of my aunt Loreta.
Five Five minute poses is usually my least favorite part of figure drawing but this time I felt like I was drawing o.k. I am not sure what happened.
I did this at Howard Marchese's workshop in the Marina today. It is the same pose as the other woman with the chopsticks in her hair but from a different direction.
Five Five minute poses is usually my least favorite part of figure drawing but this time I felt like I was drawing o.k. I am not sure what happened.
I did this at Howard Marchese's workshop in the Marina today. It is the same pose as the other woman with the chopsticks in her hair but from a different direction.
Sunday, October 30, 2011
Don't Draw in the Light
The next group of drawings I am posting in part of Nathan Fowkes assignment: Don't draw in the Light. This is the exact opposite of last weeks assignment although I found it a lot harder. This is the drawing I did in class working on not drawing in the light and detaling out of the shadows.
Sunday, October 23, 2011
Don't Draw in the Shadows - Homework
I drew Trace Devai today up at LAAFA's costumed uninstructed long pose. I hadn't seen Trace in many years. He used to model a lot for Mark Westermoe the month or so I was there studying. Linda Bull was there, as well as, Cyndi Tang. I hadn't seen Cyndi in a long time. The pose was a Michael Jackson inspired Long Pose but you can't tell from my drawing. I like how my work turned out though. I am surprised and elated how these poses without drawing in the shadow make the drawing have more style to them. I really tried to work on the negative shapes and have a Glen Orbik flare with the composition.
Wednesday, October 19, 2011
Rhythms of the Head and Tone
I did this tonal drawing in Nathan's Class using the rhythms of the head mapping technique. Nathan wanted us to make the shadow totally black and not to draw in the shadow.
This is a rhythms of the head drawing I did at Gallery Marchese.REILLEY - RHYTHMS OF THE HEAD
Started Nathan Fowkes' Head Drawing Class. He is teaching the Reilley Method of the Abstraction of the Head. I always heard it called the Rhythms of the Head (lower left hand corner). It is interesting because Glen Orbik stresses the planes of the Head more than the Rhythms of the Head but I think I remember Mark Westermoe starting us with the planes of the head and moving to the Rhythms. There is a youtube lesson I watched of Glen Orbik teaching the rhythms of the Head.
The first night in class we worked on some rhythms.
The second week of class we worked on some more.
I worked on some at the Gallery Marchese uninstructed session on Saturday.
This is a Rhythms of the Head quick self portrait.
The first night in class we worked on some rhythms.
The second week of class we worked on some more.
I worked on some at the Gallery Marchese uninstructed session on Saturday.
This is a Rhythms of the Head quick self portrait.
Sunday, August 23, 2009
Color Workshop - Nathan Fowkes - Concept Design Academy
I went to a color workshop with one of my idols - Nathan Fowkes. I love his landsketch blog. His paintings are amazing - they about the most beautiful paintings I've ever seen.
So what did he say? Here we go .......................
Color can be used to reach people at a gut emotional level.
He suggested looking at Paul Lasaine. paullasaine.blogspot.com. He said he is painterly with good drawing and good structure.
NF's (Nathan Fowkes) first job in Animation was on the Prince of Egypt. He thinks he was hired for his painterly style. He was assigned early on the color keys for the Royal Banquet Sequence.
(color keys are small loose paintings w/ info for the final frame)
NF said what he had to offer was his understanding of "Unity with Variety"
UNITY (stable, predictable, repetitious, boring)
VARIETY (surprise, out of the ordinary, unpredictable, uncomfortable)
NF said "Variety is the spice of life but Monotony provides the groceries)
Unity are colors that are closest together on the color wheel.
Most colors in nature or neutralized.
If something is boring then add contrast.
Sometimes triads, complements that have too much variety can become garrish.
The definition of garrish is too many things that don't relate to each other.
He said he grew as an artist by copying James Reynolds everday. You have to be commited.
NF talked about getting so familiar with something.
NF talked about cools and warms placed against each other.
He talked about El Dorado and Spirit.
He talked about Sinbad where a green interior contrasted Sinbad's red costume. How Sinbad was in red but the city people were in blues and made from straights and curves. Sinbad had many sharp angles.
NF talked about in Shark's Tale that the main character is golden orange because he is in water and water is blue thus he stands out by being the complement.
COLOR HARMONIES
A color harmony needs a story point
How do we push harmonies towards emotions?
METAPHORS
- I was feeling blue
- Green with envy
- A white lie
- A black mood
A single color can hit us at a gut emotional level. Colors can be likened to music with major and minor keys.
A color was
1. hue
2. saturation
3. value
4. temperature
These four things are used to create contrast.
As artists we need to get competent in using colling to pull out emotional beats.
There is shape language and color language.
He talked about how color can have different meanings. For Example, green can be a color of nature but can also me poision or unearthly.
An ashen/gray can be lifeless or sterile.
He talked about how blues and greens together can make a contempletive space.
Every time we make artwork we should ask ourself "What emotional response do I want people to have?"
NF talked about lighting and light on form. Need to study how colored light refects on surfaces.
He suggested looking at graphics.ucsd.edu/~henrik/images/
He said you can't understand color until you get outside and landscape paint.
NF mentioned Ron Lucas he said look at ushuaia.blogspot.com
NF talked about an animated version of Moby Dick that he did development on but didn't go.
He talked about color scripts and beatboards.
He mentioned people either do characters or environments you need to push your book towards one or the other.
He said he basically uses Photoshop but at Lucas Film they use painter.
He says we have a tendency as humans to notice details - but an artist has to give that up and learn how to make big simple statements.
And he said a lot more . . .
Artist Mentioned by Nathan Fowkes
Paul Lasaine - paullasaine.blogspot.com
James Reynolds
Susan Lyon
Craig Mulline
Scott Wills (Samurai Jack)
Ron Lucas
Zorn
Sargeant
Feng Ju
Stephan Martiniere
Klimt
www.graphics.ucsd.edu/~henrik/images
Ron Lucas - ushuaia.blogspot.com
David James
Scott Wills
So what did he say? Here we go .......................
Color can be used to reach people at a gut emotional level.
He suggested looking at Paul Lasaine. paullasaine.blogspot.com. He said he is painterly with good drawing and good structure.
NF's (Nathan Fowkes) first job in Animation was on the Prince of Egypt. He thinks he was hired for his painterly style. He was assigned early on the color keys for the Royal Banquet Sequence.
(color keys are small loose paintings w/ info for the final frame)
NF said what he had to offer was his understanding of "Unity with Variety"
UNITY (stable, predictable, repetitious, boring)
VARIETY (surprise, out of the ordinary, unpredictable, uncomfortable)
NF said "Variety is the spice of life but Monotony provides the groceries)
Unity are colors that are closest together on the color wheel.
Most colors in nature or neutralized.
If something is boring then add contrast.
Sometimes triads, complements that have too much variety can become garrish.
The definition of garrish is too many things that don't relate to each other.
He said he grew as an artist by copying James Reynolds everday. You have to be commited.
NF talked about getting so familiar with something.
NF talked about cools and warms placed against each other.
He talked about El Dorado and Spirit.
He talked about Sinbad where a green interior contrasted Sinbad's red costume. How Sinbad was in red but the city people were in blues and made from straights and curves. Sinbad had many sharp angles.
NF talked about in Shark's Tale that the main character is golden orange because he is in water and water is blue thus he stands out by being the complement.
COLOR HARMONIES
A color harmony needs a story point
How do we push harmonies towards emotions?
METAPHORS
- I was feeling blue
- Green with envy
- A white lie
- A black mood
A single color can hit us at a gut emotional level. Colors can be likened to music with major and minor keys.
A color was
1. hue
2. saturation
3. value
4. temperature
These four things are used to create contrast.
As artists we need to get competent in using colling to pull out emotional beats.
There is shape language and color language.
He talked about how color can have different meanings. For Example, green can be a color of nature but can also me poision or unearthly.
An ashen/gray can be lifeless or sterile.
He talked about how blues and greens together can make a contempletive space.
Every time we make artwork we should ask ourself "What emotional response do I want people to have?"
NF talked about lighting and light on form. Need to study how colored light refects on surfaces.
He suggested looking at graphics.ucsd.edu/~henrik/images/
He said you can't understand color until you get outside and landscape paint.
NF mentioned Ron Lucas he said look at ushuaia.blogspot.com
NF talked about an animated version of Moby Dick that he did development on but didn't go.
He talked about color scripts and beatboards.
He mentioned people either do characters or environments you need to push your book towards one or the other.
He said he basically uses Photoshop but at Lucas Film they use painter.
He says we have a tendency as humans to notice details - but an artist has to give that up and learn how to make big simple statements.
And he said a lot more . . .
Artist Mentioned by Nathan Fowkes
Paul Lasaine - paullasaine.blogspot.com
James Reynolds
Susan Lyon
Craig Mulline
Scott Wills (Samurai Jack)
Ron Lucas
Zorn
Sargeant
Feng Ju
Stephan Martiniere
Klimt
www.graphics.ucsd.edu/~henrik/images
Ron Lucas - ushuaia.blogspot.com
David James
Scott Wills
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