Now, if we are speaking of strict observational replication, we do not need to conflate our process with anything more elaborate than standard “ground-level” classifications of visual elements. Let’s take value for example. If my goal is limited to the strict replication of a spherical model, my aim is to apply and arrange values in… Continue reading
Our guests will range from curators to chefs, tattoo and graffiti artists to an artisanal bicycle maker. As many of these craftspeople frequently use painting as a metaphor for excellence in their own sphere, our conversations will explore this link in the interest of restoring a broader devotion to skill in the arts. We aim… Continue reading
Limiting our focus to value for this paper, let’s begin with a review of “value” in regards to objective representational art. A common definition for value is relative lightness or darkness. Within a representational visual art context, value is often used to represent some measure of light or luminance. “Luminance is an objective measurement of… Continue reading
The article began by establishing the idea that just because you have seen a photograph of something does not mean you know “exactly” what something may look like. While I understood the basic groundwork that the author was trying to establish here, the opening signaled that what would most likely follow would be a series… Continue reading
Throughout this period of development for me there was one idea that came up from time to time regarding complexity and composition that I never seemed to adequately grasp: “resting places“. These visual “places” or “spaces” were often defined as regions of a pictorial composition where a fatigued eye can find respite from the demands… Continue reading
Let’s consider luminance (A stimulus that most representational artists would record with value.) “Luminance is an objective measurement of the overall intensity of a stimulus expressed in candelas/m2 (photometers used for this purpose measure radiant energy with a filter that mimics the sensitivity of the average human observer, thus specifically measuring light). The resulting sensations… Continue reading
Let’s look at one problem that seems to arise quite often regarding basic form study and perception: The cylinder is one of the most basic geometric solids that is often systematically studied in drawing or painting programs. The cylinder is a bit challenging for the uninitiated draftsman as both the shape and form appear to… Continue reading
1. Choose the tools that will deliver your desired finish. The majority of our charcoal drawings are done with compressed charcoal and white chalk (General’s Charcoal Pencils and General’s Charcoal White Pencil) on Canson Mi-Tiente’s Sky Blue paper. The compressed charcoal can produce rich, deep darks as the chalk allows for the addition of… Continue reading
1. Wood Wood can be conveyed through a wide variety of visual clues. Specific grains and knots top off an array of features that communicate a wooden surface to a viewer. Here we chose the subject of a child’s wood block to illustrate this: We begin each drawing with a simple charcoal outline (A). Next,… Continue reading
MIND BLOWN. I have recently learned of an exhibit being put together to feature many of the works from the Star Wars Visions project in Japan later this year. While being able to participate in this project was just incredible I have not thought about it in some time or looked into how the works… Continue reading