(via chillljill)Source: c-oquetry
Here’s a few things from last week’s 2 day pose: the first was a five minute warm-up gesture, the second a value or “impact” study, and the last is the finished piece.
I had a lot of fun on the value study and learned a lot about how to calibrating relative values for certain desired effects. I had a bit of a rough start as my proportions were off, evidence of which still remains a little bit in the final piece, but I’m really happy with the values and the sense of light hitting form.
Long overdue updates! This was a demo from two weeks ago by our beloved leader Jon DeMartin during our monday figure drawing class. Jon is always articulate and lucid in his lectures and demos, but having a full 3 hours to pace himself made the process even clearer.
The figure on the left was drawn out his imagination, a true testament to his knowledge of construction and anatomy.
Finally something origami related posted to my tumblr!
These are some shots from the opening of a show I was a part of called, “Paper to Pixel” at the Vernon Community Arts Center in Connecticut. The show is open till May 12th, so if you find yourself in the area, stop on by! Everything I put in the show is for sale.
The show combined the “ancient” art of origami alongside some of the newest medium of graphic and digital art. I only have space for 10 pictures in the post so I reserved this limited capacity for the work of my origami friends and colleagues - if you’re interested in the other work, pictures should be up on the facebook page dedicated to the exhibit.
Kudos and a big thank you go to my friend and colleague Ben Parker who organized this whole shindig with grace and style. Curating anything is no small feat, and the space looked wonderful so my hat off to you good sir! Please also check out his beautiful work on his flickr:
Also please check out the work of my super talented, fellow paper folders:
Eric Gjerde: http://www.ericgjerde.com
Tom Craine: http://www.flickr.com/photos/tomcrainorigami/
Eric Demaine: http://erikdemaine.org
Martin Demaine: http://martindemaine.org
Work in order of posting:
wall of Bejamin Parker, wall of Alexander Soukas (me), 3 close-ups of my work, 3 works by Eric and Martin Demaine, beautiful lights by Jennifer Jacobs, and a wall of work by Eric Gjerde.
25x19, charcoal on paper
Day two of five!! well technically it’s day 3, but I was sick last week so I missed a day… Nevertheless, time to push the value range!
I’m glad I did this one on white instead of the gray moonstone paper as I can push the value range to about 9 good discernible values. Note that in my first post of this piece, I only had 5 values. Once these big relationships were well calibrated I started adding more until I reached 9 - now next week will begin the fun process of editing those 9 values so as to work in better harmony. Learning how and when to group tight range values is really difficult, particularly in things like the white plaster cast where the range is so subtle and compressed. Squinting is my main helper these days. The small shadow shapes of the braids in her hair were just started towards the end of the day but I have a feeling I’ll be working on them to the very end lol.
oops! forgot to add my four day figure drawing from my man, Jon DeMartin’s class!!
Wish I could’ve gotten to the legs and arm more, but I’m proud that I managed to get as much done as I did, especially considering how different Jon’s approach is than what we’re taught more regularly at Incamminati. I learned an incredible amount on this drawing, which I credit to Jon’s amazing teaching and gorgeous demo drawings which have permanent residence next to my humble attempt!
Open Grisailles from today! oil on canvas, 16x20, one hour each
I don’t know why, but painting seems to make more sense to me these days than drawing. In fact, I wish my drawings looked more like my paintings. I think its because in painting, one is forced to think in masses, whereas drawing lends itself to be more linear. Regardless, Open grisaille continues to be my favorite class this semester - I see myself improving each week in this class, a rate which I don’t see in my other classes. Among my realizations this week include the importance of nailing generalized proportions and shapes with pinpoint accuracy before breaking down into smaller shapes. I know it sounds like a mantra at this point as its been stressed over and over as an obvious advantage in the process, and yet this is the great lesson of Nelson’s teachings that is the engine of painting and I’m continually amazed by its simplicity and power. As my teacher Natalie said today (quoting Nelson) “Don’t make it more complex, make it more correct.” Don’t add information, correct it.
For those of you curious about how I work at home, here’s the evidence!. I get some beautiful northwestern light in through my windows. Add a pochade box on top of a makeshift coffee table, and I got myself a studio! On the weekends, this is where I usually paint and work on homework assignments. It’s so nice to be able to wake up, eat breakfast and sit down to paint without any interruption or transportation in the process (note glass of OJ on table..)