Saturday, 30 December 2017

December 31, 2017

Drawn at "The Bunker" in Albuquerque, studio of Monty Singer and Brian Gonzales:







Altered with PaintsChainer and Photoshop















December 30, 2017

Drawn in the Argos Gallery of Santa Fe:






Altered in PaintsChainer and Photoshop

















Recently I heard an artist in El Paso talk about the difference between the French and the Italian approach to life drawing.  That disparity surfaced again in some conversations in Santa Fe, but I cannot find anything online that discusses that distinction.

I am assuming that sight-size drawing is from the French school, emphasizing the light on the surface of the figure.  And that anatomical drawing comes from the Italian school, working from the muscles.  To me, that seems to be the difference between drawing from the outside in, vs from the inside out.

Then Daniel mentioned that the Germans had a different approach in the Munich Academy.  I'm not sure what the difference is, but many of the Taos Society artists studies in Munich, including my favorite E Martin Hennings, as well as William Victor Higgins, Walter Ufer and Joseph Henry Sharp.

The Frank Reilly method (as well as the Loomis method) of drawing from the Art Student's league also came up.

After doing some Google searches, I found some different opinions as well:

All this surfaces as I was trying to write about my approach to life drawing in my upcoming self-published book. I pointed to Mayan drawing as an influence, and now am beginning to see how different that is from European approaches.


Thursday, 28 December 2017

Sunday, 24 December 2017

December 24, 2017

Drawn at "The Bunker" in Albuquerque, studio of Monty Singer and Brian Gonzales:





Altered in Paintschainer and Photoshop














Altered in Paintschainer and Photoshop



Saturday, 23 December 2017

December 23, 2017

Drawn in the Argos Gallery of Santa Fe:




The above print was made without removing the red BIG grounds.  The smudgy dots are probably an artifact of the grounds, as it dried with dust or small bubbles on the surface. I cleaned the Akua ink off with baby oil, and that did not flake any of the BIG grounds off this time.










My plate
next to the Whistler print
that was overlooking my shoulders









Development (Dec 30):

Eric and Mary were experimenting more with Sugarlift, and found this great dip nib to work with:



Friday, 22 December 2017

December 21, 2017

Drawn at Marilyn Drake's studio in Hoffmantown Center, Albuquerque: