"Newberry's work speaks to the senses, the intellect, and the passions of those who do not need the judgment of history to tell them what is great, but who can themselves make the judgment of history today." Stephen Hicks, Ph.D., Professor of Philosophy
If you are like most artists, you love to start with a clean oil painting palette. But like most of us, a day or a week of painting goes by and your palette becomes crusty with dried paint. Okay, some of you have decades old palettes that have morphed into abstract sculptures. Nothing can help with that, but for relatively recently dried paint, the following is an awesome way to quickly clean your wood palette.
With this tutorial, I will take you through the drawing stages.
The preparation takes about 10 to 15 minutes. Now that you have prepared the paper you are ready to roll.
The charcoal rub on the paper is neither black nor light, but solidly in the middle of the tonal range. Here I am drawing with General’s charcoal pencil 6b. You will notice that I hold the pencil at the back end. It may not seem important, but you might be amazed at how the mark making becomes more fluid.
Charcoal drawing is 30,000 years old and marks the dawn of humankind. When drawn on great paper is one of the easiest and most rewarding techniques in all visual art. It is perfect for the beginner because it quickly conveys the image; mistakes are easily corrected, and it naturally enhances light effects. It holds challenges to expert artists as well: it lends itself to the extremes of the freedom of action drawing or insanely subtle realism.
Rives BFK paper.
Kneaded eraser, Pink Pearl eraser. Optional, a drawing eraser.
6 B charcoal pencils. Generals.
Flat compressed charcoal stick, soft. Alpha Color is a good brand.
Portfolio Cachet, 20 x 26 inches. It is lightweight and doubles as an excellent drawing board.
Shop Mechanics Paper Towels (hardware stores).
Sennelier charcoal or pastel fixative.
Glassine paper, to protect your finished drawing.
Exacto knife, for sharpening the charcoal pencil.
Cast shadow is an essential complement to painting light. Let’s see how Dali, a master of cast shadow, does it.
Dali, Young Virgin Autosodomized by Her Own Chastity, 1954
There are different types of shadows and a cast shadow is one in which it falls from an object. A good example of it is when you are walking on a sunny day and your shadow is tagging along, you wave and it waves back.
Figurative sculptors spend most of their time focused on the best way to present the figure. For painters, there is a lot to learn from how sculptors often bring out the big abstract form of the figure. Seeing one perspective offered by the photo of the sculpture will serve our purpose. Our goal is to look for the abstract shape of the body. When working with a model, it is always good for painters to shift your position so that you can find the best view that accents the big form.
Expressing artistic vision, aside from all of the technical stuff, is really no more difficult than a child, left to his imagination, creating a little universe out of paper and crayon.
On the other side of the spectrum, da Vinci and Michelangelo went beyond the confines of being craftsmen to establishing themselves as artist-creators. What they did was simply do what the child does, but on an advanced level, thereby dramatically elevating the furthest reaches of art.
As a teenager, I traveled a bit and got great pleasure going to art museums. I would quickly move from one room to another, skimming all the paintings at a glance, until one caught my attention. Then, I would stop to satisfy my curiosity or pleasure in that painting.
Only after I had my fill would I look at the signature or the identification card. The painters were names like: Manet, Rembrandt, Rubens, Picasso, Titian, Van Gogh, Monet.
I had a particular way of cataloging my experiences with those artists–I sought out the common “things” that drew me to them. There were stunning and mysterious visual components that I wanted to understand.
Some months ago I had an aesthetic breakthrough–I discovered the tremendous value of the triangulation light and dark. It has sped my realistic technique, intensified eye movement, and allowed for more subtlety than I could have imagined.