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Featured Article
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The devil is in the
DETAILS
Portrait painting is no different than figure drawing...deconstruct your subject first. If you have a system that you practice over and over again, and it works, you will never be intimidated by your white canvas or model again.
"The devil is in the details." When your instructor tells you to squint it is not because they want to increase your crows feet. They want you to obliterate all the details and see only the silhouette, large shadow shapes, and local color or value. This is for the block-in of the form. Don't waste valuable time trying to illustrate an eye when the mouth isn't even in the right place. Because you will end up making an area "precious" which you won't want to touch later.
Instead- try to simplify the head into an egg or square shape (depending on the person). Eyes are usually half way down- make a mark (do not draw the eye). Find the center line of the face or the axis (tilt of the face) make a curved line vertically down so that you know where to line up the nose and the center of the lips. From the hair line to the bridge of the nose or brow line is 1/3, nose is 1/3 and to the chin is 1/3 measurement.
Once all your measurements are accurate then proceed to painting in large shadow shapes. Don't try to put in too much information in the early stages and if you don't nail the color perfectly at least try to match the value shade, the accurate color will come later.
 These preliminary steps will save you time and agony and then you will be ready for the details. For more information on portrait painting classes with instructor Cheryl Kline, or to purchase our DVD on "Painting Portraits from Photographs and finishing with the live model" call (310)927-2436 or visit our website: www.klineacademy.com
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Deconstructing the figure by Esmeralda Acosta
 One of the most important steps in drawing a figure is the lay-in. This is your map to building a solid, believable naturalistic figure.
There is a science to drawing that ANYONE can learn.
One way to visually de-construct a live model is by using simple shapes to represent each area of the body. A figure laid in with large simple forms, makes it easier to better gage the accuracy of the drawing compared to the subject. An example of using forms, is a rectangle that starts at the shoulders and ends at the crotch.
This is the first, but extremely important, level in the process of drawing. At this stage there is no focus on individual muscles, rib striations or knee dimples, just one big representative shape for sections of the body.
The details will come later in the process.
Learning to see this way is an excellent method for efficiently setting up the figure with accuracy and built in gesture .
For Class information on Figure Drawing with Esmeralda Acosta, contact:
Kline Academy of Fine Art, (310) 927-2436 www.klineacademy.com.
Class meets every Wednesday from 11am to 2pm $40.
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Making White whiter...
"White ... is not a mere absence of colour; it is a shining and
affirmative thing, as fierce as red ..." Gilbert Keith Chesterton. Do you ever wish your white could be whiter? Renaissance artists used lead white which is very opaque, lays on the surface and reflects light better than our titanium white. But, it is very toxic and not recommended. Following are some notes on white that help me: - CONTRAST. The first step to making white whiter is to add contrast to the surrounding colors. If the white areas are hugging other light colors there is nothing you can do to pop the white.
- TEMPERATURE. If the surrounding colors are warm, try adding a hint of alizarine crimson to cool the white. This will actually make the white look whiter. And vise versa if the colors are cool, add a touch of yellow (sennelier naples is a nice lemony color).
- CHEAT. It's not really cheating, I just wanted to get your attention. Here is a preparation I use to make a really rich, creamy, warm white.
The yoke of one egg, Dry pigment of Titanium white, Stand oil, Damar Varnish and Odorless Turp to "cook" the egg. Separate the yoke from the egg and using a flat glass pestle on a flat glass surface begin working the pigment into the egg yoke until you get a thick but creamy mixture. Then I slowly add drops of Damar and Turp. I use about a teaspoon or so of the stand oil so that when I apply my white it "sits" on the surface. I only use this egg tempera white in the last stages of a painting. I love it and I love the results.
But I have end this note on white with a revelation that came to me from a fellow artist. I called him in "Hey Mitch... my whites look so dull, I can't get them white enough." His reply was so simple... "That's because all your whites are the same!" He was right and his observation continues to remind me whenever I am stuck. For more information on classical painting techniques, Call (310) 927-2436 or visit our website klineacademy.com. We have new Tuesday night class which meets from 6:30 to 9:30pm, all levels welcome. |
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About Kline Academy of Fine Art, EST 2007
We are a Different Place to Learn to Paint, Draw...Create.
There are not many schools that teach classical painting and even basic foundations to achieve classical and representational results...without the snobbery and for all levels. These valuable skills are also necessary in the creation of contemporary art. Many of our lessons are from live demonstrations which is 10 times more effective. And because we are all working artists, we know how to paint and we'll show you brush stroke by brush stroke.
Whether you are a novice or professional, and whatever your genre, we are committed to teaching you all that we know to help you become better at your art making.
Kline Academy of Fine Art
3264 Motor Avenue
Los Angeles, California 90034
(310) 927-2436
www.klineacademy.com
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