Animated model

During the last long model pose from the previous term, I got the permission of all the artists in class to let me have their drawings photographed. Next step was to put all of this in an animated gif.  I wonder how long a 2D Disney film would take if the drawings were done classically? :)

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If you are interested in getting my sketchbook of short poses, Figuring Out - the long and short of it, the link is right here:
https://www.booksactuallyshop.com/products/figuring-out-the-long-and-short-of-it

Cast Away 2 - Abe Lincoln

It seemed like 4 scores and 7 years ago... but I am finally done with my second charcoal cast of Abraham Lincoln - the 16th president of the United States of America.  During this 145+ hour long study, I became more familiar with using charcoal and its accompanying tools and my eyes began to see a lot more of the complexity of 3D form.  The learning curve is invaluable! And since there were several requests on the making of a charcoal piece, here's sharing highlights of each stage of the journey with you.

The figure is briefly but accurately mapped out on Canson paper.

The final image is traced on a translucent paper, and re-traced back onto Roma Paper.

The background and shadows are first applied evenly using the soft 2B charcoal.

The background is thinned to match the background color of the "wall" of the cast, super dark shadows are added using Rembrandt Pastel (these you cannot remove easily). A general big form modeling is worked in. 

 Moving from shadow shapes to light planes, a mirror is used to help keep the values in check. 

  These are some of my tools I used for the project.

  Here I am in the rendering stage of the cast.

Abraham Lincoln cast, charcoal on Roma paper

65cm x 48cm

Figuring It Out

Term 3 begins!! The winter here has been great so far, not as chilly as I though it would be.  I can still sketch outdoors with a breeze. :) Since this post is not going to be about whether the weather's withering, let's get straight down to where the puns stop. 

Some people have asked me how I get my figures looking so proportional within seconds in my urban sketches (as seen in the sketch below of Piazza Republica, Firenze). To that I reply that I try to keep drawing all the time. It's a combination of sketching, observing, analyzing and more sketching.  Whether I'm in the subway, in a busy Piazza or in the studio doing long studies, these are platforms which allow me to practice (and sharpen) my craft. And for me, neither one platform is superior to the other. All these different ways I document the human anatomy builds on each other and will get better over time.  Looking at the equation from another point of view, one can say that it's kinda like for every one urban sketch I do, I probably worked like 50 subway sketches. Or for every one 45 hour study pose I do, behind that was at least 150 super short poses.  If math is not your cup of tea, in a gist, what I am saying is that I don't just whip out a drawing from thin air. 

I'm still figuring out and studying the human anatomy as I go along. It's laborious, but I love it thoroughly.  For those who are interested in books on anatomy, one just arrived today. It's called 'How to Draw and Paint Anatomy - the complete guide' by ImagineFX. 

Piazza Republica, Firenze

Ink, A3

Short 5 min poses

China Marker, 25cm in height

Quick sketches from the Paris Metro

ink, sketchbook

3 hr study

Oil, 30cm

12 hr study

Graphite, 30cm

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If you are interested in getting my sketchbook of short poses, Figuring Out - the long and short of it, the link is right here:
https://www.booksactuallyshop.com/products/figuring-out-the-long-and-short-of-it

Urban Sketching in Paris (part 2)

(Continued from Urban Sketching in Paris - part 1)

Contrary to popular belief, in my short stay 18-day stay in Paris, I have found the locals to be very friendly and helpful. "It's probably because it's Christmas," a resident friend and a former resident commented. Either that or I must have been looking very distraught. Each time I uttered an "Où sont les toilettes?, most of the time, they'd reply in English or go to some extent in showing me where it is. They were really friendly to me! :)

I decided to stay in Paris for another week just because there's so much to check out. And I didn't want to rush through seeing what I needed to see. I have found the art in the Louvre and 'Orsay simply inspiring! I've even went back to the Louvre again just to do studies from the sculptures. The fact that there were many artists drawing away in the museum created the flow of energy for me to draw. 

Why are there so many beautiful art in Paris? Well, after the Renaissance movement began, by the 1700s, the French came to Florence to learn the craft of the Italian masters. And after that, they brought it back to France for it to grow. And it did… not just grow but flourish! This is where your Bouguereau and Ingres come from.  

I was glad to have met Urban Sketchers Paris. The locations I met them were at Notre-Dame du Paris, the Jacquesmart André Musée and Le Musée des Arts Forains. There were many things to sketch outdoors, but I was not ready for the weather… the winds especially. In fact, I still don't think I have the right winter gear. So much for growing up in the tropics all my life… haha. Until I get warmer clothing, it's gonna be indoor sketching for now. 

A fruitful new year to you! :)

This is my first visit to the Natural Museum of Natural History. Take me to a place where I can draw dinosaur bones anytime!

Sacré Cœur is on the top of Montmartre. The beautiful church celebrates 125 years in Paris. It was a lovely day and I had to capture it. I was down for another outdoor sketch. Brrrrrrrrrrrrr…

Met the urban sketchers of Paris at the Jaquemart-André museum where Sir Lawrence Alma Tadema's works are for a temporary show. Always amazing for me to be able to be up close to original paintings. Brrrrrr...

I decided to try an indoor sketch. A pastry shop caught my attention. Situated near the Effiel Tower, I was attracted by the warmth and cosy feeling of Le Moulin de la Vierge, Paris.

Some pencil feet studies from the statuettes in the French collection, Louvre. 

Urban Sketching in Paris (part 1)

Last year (2012) in March, I officially joined Urban Sketching Singapore. Being in the group assisted greatly in my initially fear of sketching outdoors.  Being in the group allowed me to NOT focus on the curious by-stander scrutinizing my work, and furthermore, I could also receive advice and tips from the veterans. 

About a year ago, I was sketching in France. But the south of France where I began my very long sketch walk on the Camino Frances in St Jean Pied du Port.  This year, I am up north in France, in a city you might have heard of - Paris. :) It's a winter break from school and my schoolmate invited me to join him and his family in the La Defense area. Homestay and home-cooked food from Bangalore everyday… what a deal! Initially, it was a 7 day trip, there was so much to see, I extended it to 2 weeks! I had been to Paris before as a backpacker tourist for a couple of days. But to live and breathe the Seine, do grocery shopping at Auchan every other day and cook, that's nearly as close as being a resident here. Here's sketching the world, one city at a time.  :)

Here are my ink sketches using my trusty Hero pen!!

(All images are 21cm x 60cm on a Moleskine A4 watercolor sketchpad.)

I misread a message by Mr Tsunehiko and waited for him ON the street level of Luxemborg Station instead of meeting him IN the Metro line. My bad.

We finally met and he brought me to a wonderful location to sketch by the river Seine.

This sketch session was organized by Kim - who looks after USKParis. This is Le Musée des Arts Forains in the Bercy area. It's a turn of the century amusement park that is opened to the public once a year. The restoration work is astounding. And another bonus... someone offered me a free ticket.

This piece need no introduction. I come from a place where it averages 27 degrees celsius all year round. Sketching outdoors in the chilly weather has been challenging for me. 

(To be continued…) 

The Art of Subway Sketching

Sounds like confession by it's been more than a month since I last posted. :) The workload at school got a little heavy towards the end of the term. But now I'm in Paris enjoying the company of a schoolmate whose family invited me over for a visit.  What a deal!

The Metro or subway in Paris reminds me of what I used to do in the local Singapore MRT (Mass Rapid Transit). All I need is a small A5 sketchbook and my Hero pen with ink that flows faster than you can say "ink that flows faster than"… ok that was silly.

But since school is out and the local beaches during this cold winter climate is a no-no for model sketching, I look to the subways for train system sketching practices. It helps me focus on gestures because you never know when your model has to alight, looks in another direction or when the train gets so packed like a tin of sardines you don't need to hold the handles for stability because the people around you are pressed up so tightly against you. :)

Sketching in the subway also trains (no pun… really) you how to keep on track (Ok, this one I tried too hard for the pun) quickly at your model as many of them will be very conscious that you are drawing them. So if you are ever doing this and your model happens to be within a 3 metro range, start by looking elsewhere. When you peripheral vision tells you that he or she is not looking at you, glance at your model for a couple of seconds, and if you if your model will be looking back at you… casually turn your eyes away. :)  So far only about 5% of the people are sketch are comfortable with me sketching them and no I have not been fined for stalking people. That's why it's an Art. :D

Enjoy! And have a restful and peaceful end of the year festive season!!

Cast Away!!

I earned myself a spot in the cast room somewhere during the 3rd week of the term and was introduced to a handful of new materials.  It's goodbye to the bargues... for now. ;p 

The process of drawing from a cast is similar to that of working on a bargue, and yet different. Firstly, there's a lot of walking up and down involved. Secondly, no strings for measuring are involved, just a razor-edged set of eyes which will sharpened even more during the process. Thirdly, we use the sight-size method meaning the size of the cast is exactly the same as what you see on paper. And lastly, we use expensive paper. :)

Check out the finished artwork and a soon to be released video clip here.
But for now, I'm getting ready to move onward to the next cast.

 

Nitram charcoals 

After tracing the contours, a one-tone 'black' is filled in. 

Working on the finishing touches of David