Rodica Voicu
Chris Roberts
Janet Wolf
Amy Schrom
Gabriela Riva
Jennifer Folker
I feel like I've been painting non stop, even in my sleep. That's my job. It's what I do. No complaints. In the midst of all the hours, I occasionally realize things I've never thought of before. My man will also watch me paint, and chirp in with an occasional 'do you know you do that when you do that?'. He made this observation way back, that I paint with a brush like I draw with pastels. Layers of strokes, deliberate directions, quick decisions - changing colors every minute. How right he was. And at times, when I pay attention to what my hand is doing, I realize somewhere along the way, along the years, my hand became the leader and my eyes learned to sit back and conduct. That's what a lifetime of drawing and painting can lead to - this unconscious cooperation between the eyes and the hand.
For anyone out there who wants to be a better painter - it has to start with being a good drawer. I think if you struggle with a paint brush, or if the end result isn't what you imagined in your head - put the paints away and draw for a while. If you strive to loosen up with brushstrokes, learn to draw quickly, with gesture, without apprehension. Use up a whole pad of paper. Go for it. Now on the other hand, if you strive to be more representational, tighter, more accurate with painting, learn to draw slower, checking distances and perspective, compare lengths of objects to each other, etc. Either way - I'll bet the next time you pick up a brush, your habits will conduct your eye/hand coordination better. It's true.
Now onto this new challenge, a marble sculpture of one of the goddess Diana's companions, a nymph and her hound. Unlike past challenges, where I've been open to you cropping as you wish - I want you to draw or paint the entire sculpture. You don't have to include the wall or the pedestal, but it must include the sculpture from top to bottom. It's a great subject to put away your paints and draw, but that's up to you. It's also a great subject to paint because of the multitudes of warm/cool grays. Take your time. Work at the 3-dimensional quality of the subject - the details, the weight, the elegance.
Meanwhile, I've still got to finish up my work for the show - all of which need to be varnished, framed, shipped and hung before May 9th. So I'm stretching this out 3 weeks so I can get the job done.
Marble Sculpture of
'A Companion of Diana'
11 comments:
Now, what a tough one...
And thanks for sharing, I think I needed to 'hear' all that to find the courage to try...
What a challange, let's do it.
What a delight! Just looking at this piece is rapturous!
Good talk Karin, I think your hardwork has paid off! I can understand what you say when your hand does something and you wonder how? That has happened to me while sketching on the move, many , many times!
Hmmm...this should be a fun one...Marble people with pets..
Karin,
As an art educator for a number of years on the college and high school levels may I say that your advice on drawing and painting is right on! You defined the distinction between the gestural and restrained approaches well, but even more the results of these approaches. Very well spoken to say the least!
Your effort at your own work is inspiring, and thanks for the great example. I love the idea of painting this sculpture, reminds me of the casts we draw from at PAFA.
Génial Nono !!!
These are turning out beautifully!
YOU are amazing.
Gosh so much talent...i wonder if i should submit!
these are crazy beautiful
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