Color study 2

Life study. Guache on black paper. 150x100cm. 1 hour.

color study

1 hour color study / speed painting. Chalk and guache on black paper. about 100x140cm.

By the way, I'm going to use this blog as an art experimenting channel from now on. The graphic design material will be displayed at the tumblr blog

Life drawing

 

 Compressed charcoal sticks on litoposter.

Sanguine pastel pencil on paper. 150x100 cm

Painter 11, 4 hours.

After months of intensive anatomy studying, I tried to draw this without a reference. Looking critically now, the construction is a bit hit-or-miss. strange shoulders, too beefy arms, flat head, somewhat implausible neck angle and as a whole a bit illogical character.

December life study

 

3 hours, charcoal on litoposter.

 

Sanguine pastel on litoposter.

Skull embrace

Life drawing. Some proportion mistakes here and there admittedly. Still a progression though.

Life study 3

Sanguine pastel pencil on litoposter. Tuesday's life drawing workshop at the university. I tried the renaissance artist approach for a change. We had one hour to draw this but I finished the hair and the cloth afterwards. A classmate complimented that this looks very realistic.

Figure drawing

 

Artist life down at the university: figure drawing.

Comic night

Another university student and I couldn't get to the 24 hour comics day event so we instead held a  late night comic drawing event listening to Vangelis and this is what I produced. Just a stream of consciousness as I could not concentrate on scriptwriting. 

Edit: The guy commented that this is rather scary. I hear that quite often, even though my works are not scary to me and I never intentionally try to make them scary, they just come naturally like that I guess. I thought the Frog comic was rather sympathetic but even that has been called a bit scary.

Study

Formulaic practise using Andrew Loomis' method, and analysis of Zsa Zsa Gabor's face.

Commissioned portrait

Oil on canvas, 46x56cm. I was commissioned to paint this portrait of the customer's father who passed away years a go. There were only two low-quality photographs of the person available so the customer wanted a painting as a memento. According to her, the man was a down-to-earth, warm-hearted person keen on nature, and that should be apparent on the portrait.

I had to study some more in-depth color theory to work on the colors and lighting as the reference pictures were flash-lit or pale, unnaturally flat-looking. I learned quite a lot from the process and gained more confidence. It was pretty laborious to get the proportions right and achieve a resemblance. Everything has to be just right, not too dark, not too light, not too sharp, not too obscure. Fine-tuning took hours.

Mech

Felt pens on laser paper.

Animals

"Choral horse" and an elephant seal - sort of. Graphite on sketchbook page.

Ink drawings

Rafael study

Study of Rafael Sanzio's drawing. Sanguine oil pastel pen on A3 sketchbook. I used a lot of sandpaper to sharpen the pen. Copying old masters gives confidence and helps to get proper understanding of draughtsmanship. Jose Parramon stated in the reference book that in order to be a good painter, you have to be an even better draughtsman. Edit: scanned version added.