Reclining Figure Drawing
Pastel and Charcoal on Paper
© 1999, Jeff Thomann
Category Archives: studio
Figure Drawing with Light
Figure Drawing with Light
Pastel and Charcoal on Cardboard
© 1999, Jeff Thomann
worked on cleaing a bit…
Worked on cleaning up the basement a bit over the weekend. It still has a long ways to go, but I did manage to free up some floor room that can become the beginnings of a painting studio again, and also might work out as a dance floor/workout place for using workout videos. I’m thinking it’ll be smarter to do that sort of stuff down in the basement where the floors are concrete…
Can Art Change the World?
As Director of Digital Learning, I might just have the best job in the world. Take today as an example. At 10:00 a.m., I reviewed video for an online studio course about the materials and techniques of Willem de Kooning, Jackson Pollock, and Barnett Newman (among others) that my coworker Amy Horschak and I hope […] http://bit.ly/d14bAR
Thrifty White Hardboard?
Before reading about Thrifty White Hardboard over at http://www.avsforum.com/avs-vb/showthread.php?t=878775 I was not sure if it existed… I might look in to that stuff for future paintings/drawings instead of normal hardboard I’ve been using since that normal stuff requires a layer of gesso, which looks good in person, but does not seem to look so great in the scans I’m doing of my works that I’m uploading to Zazzle, Cafepress, etc., as the imperfect brush strokes in the gesso are magnified by the scanner due to the bright light reflection the scanner utilizes.
Studio Tip – Keeping pencil shavings, and other things…
I love keeping the shavings off pencils as I sharpen them. Sometimes there is just enough color or graphite left to allow for one or two more uses of the leftovers on there that might come in handy someday. Additionally, the shavings are handy for doing interesting things such as creating brush strokes with paint that would be impossible to create with normal brushes, blending color on paintings or drawings by using the shavings as blending stumps, or they can be useful to just have around, sitting in a plastic bottle or jar to look at for inspiration since they various colors and shapes can sometimes give me compositional ideas.
Similarly, I love keeping paint covered palletes and clothing that I’ve used over the years. The splatters on the clothing of various material, whether it’s plaster, paint, tar, or something else mix to create interesting forms and shapes. I think Jim Dine used to keep his studio clothing as seperate pieces of artwork in and of themselves. This is a very good idea. The various materials I see on the various pieces of clothing that I’ve coated with artistic make me think about what was done to create each splatter, and shape, and form. Lately, for palletes, I use paper or stryofoam plates since my latest easel is made to hold those – that makes it a lot easier to keep the pallettes after the painting is done than it used to be when the palletes were expensive items that I typically ended up damaging as I tried to clean them off. It’s a memory jarring thing for us artists. My wife just calls me a pack rat, lol. I might take some digital photos or scans of some pallets and painted clothing sometimes, and create digital works from that. That’s what’s very nice about art – you can recycle ideas, shapes and forms, or elements of various artwork over and over… Infinite possibilities…
I also like keeping old paint brushes. The shapes they can create are likely unique. The same applies to any art instrument or some non-art instruments that can be converted in to art instruments. I love using various items as paint brushes sometimes… Some of the various items I’ve used in the past as a paint brush or brush to apply ink to paper or canvas are tooth picks, old tooth brushes (only use my own for that though so I don’t get a lot of other folks germs, lol), pieces of fabric, sculpey, thumbtacks, branches off of pine trees, pine cones, feathers, blades of grass, nails, screws, and broken light bulbs just to name a few.
I also like to keep a few oddball items around just to play with or to get ideas from… I don’t smoke, but keep a ciggarette lighter in my drawing toolbox sometimes – burnt edges on paper can look neat. I also keep a small handheld mirror or two as well as a full length mirror in the studio to play around with. Knives can be useful for digging layers off of paintings too… or just be neat to look at and draw…
I have one really wicked looking hunting knife in my drawing box that I used to keep in there for protection purposes, not that I ever had to use it. You never know who might come up to you and start bothering you if you are an artist out in the wilderness somewhere at a park or something and are trying to do a pein air painting… I don’t condone violence, but I hear about rapes, murders, and theft in the news way to often to just be out there in the woods by myself on the side of a hiking trail to not have some sort of protection nearby, even if it is just an old cell phone that can be used to call 911.
They say that any cell phone has to legally be allowed to call 911 regardless of whether you still have service on it or not – might not hurt to keep one in your drawing toolbox, basket, book bag, or whatever you use carry around with you to hold your brushes, pencils, or sketchbooks, especially if you are female. In the worst case scenario it could save your life. In the best case scenario it can be useful to call your spouse or significant other to come and pick you up, or to call for a pizza delivery or something. Most cell phones these days have cameras on them – so that is a useful art tool in and of itself, and makes carrying one around with you at all times something you should really think about doing if you are not already.
Color Pallette… Color Blindness… When is a something done?
I have mentioned color pallette in a few postings already, but don’t think I’ve gone in to a lot of detail about my personal preferences in my own color uses, why I have those preferences, etc. so I figured it might be time to post a little bit about that here, even though most of the stuff that I’m uploading to the artfolio is not color yet – It’s mainly black and white or blue and white sketchbook scans for now, but I’ll get around to uploading the color works later, and at that time, it’ll be good to know a little about my use of color.
For those of you that don’t know this yet, I am partially color blind. Greens and Reds that are medium toned or darker tend to look alike to me, which appears to be the same color as a grey color (just black and white) tone of the same value. Luckily, I’m not fully color blind, or else this little issue would have a much more major impact on my artwork than it does now. Bright reds, and greens are very visible to me. It’s only the darker tones that are usually seen in shadows that make things a bit difficult for me.
Because of this, I have a tendency to drive myself towards pointillism type of styles, or similar types of styles that use visual color mixing instead of real color mixing, at least in this part of the color spectrum. That way, I can move in very close to the canvas, and look at what is going on with the color blobs up close and personal to try to resolve issues and create a plan of attack to figure out what move to make next in this chess game of creating art.
Eye strain headaches does come to me after a while of doing this sort of stuff, especially since I’m near sighted… because I’m constantly looking at different areas of the painting, or color drawings at a distance, and then up close, and then at a distance, and maybe upside down to check composition, etc. I did not even realize I needed glasses for my near-sightedness until after I graduated from college, but I really should have probably gotten glasses a very long time before that. My dad loves transitions lenses and got me hooked on using them since they keep me from having to constantly buy sunglasses only to lose them. However, the transition lenses do cause me problems when making art and viewing art sometimes since they put a dark tone on everything I see through them. Because of that, I have to take off my glasses to view things in museums, galleries, or as I paint sometimes so that I’m not making major color/tonal mistakes. That causes even more eye strain on occassion. I do like the transition lenses since my eyes are pretty sensitive to light, and they make staring at a computer all day at my 40 hour a week job more tolerable. However, I hate that they cause me to not be able to see a lot of true colors at a distance… All through school, I remember squinting a lot in painting classes and drawing classes. I just assumed that this was normal at the time since I had never thought to check with a vision specialist. I knew that I was color blind, and just sort of assumed that the squinting and headaches were a normal part of the process of creating art. I sometimes wonder how things would have been different if I had glasses way back in elementatry school….
Strangely, all of this does not have a huge impact on viewers of my work because a lot of artists use green to muddy down red and vice versa to get shadow colors and tones as they are on opposite ends of the color spectrum.
My favorite colors are somewhat bright and intense. As mentioned in another post, I love the color pallette that folks like Remington use, where there’s lots of vividness to the work and it sort of brings a positive cheery mood in to play.
I like mixing colors on the canvas itself visually more than a lot of other painters do. I do mix colors when I can but like using paint staight out of the bottle when possible so that it’s easier to come back to an area and re-work it or balance it out with similar colors on opposite ends of the canvas if I need to… Stuff that comes out of a bottle is usually mixed fairly closely to other stuff that comes out of a bottle that has the same label and is made by the same company. That makes it easier to not have a lot of worries about painting an area and then needing more of that same paint mix later, but not being able to find it because you cannot figure out the exact proportions of which paint you mixed to arrive at that color, especially when, like me, you are color blind so physicially mixing the paint is a very difficult chore. That label on the bottles of paint helps ease my mind in making decisions since I know that the green in that bottle is the same green that I got out of that bottle an hour ago. Pointillism type effects can be used to help mix and match just about any color that exists, at least at a certain distance.
My favorite oil paint colors are usually Cadmium Red (for bright bold red intensity), Crimson Red (for darker red tones and colors), Currealean Blue (for highlights that are in blue – lots of artists are afraid to use blue in highlights, which is a huge loss to their works), Cobalt Blue (for mid-intensity blues), Prussian Blue (for really deep dark blues), and occassionally a very bright yellow, and maybe something strange like violet, which can be very bright and noticible if applied thickly or almost unnoticible if applied thinly with the rest of the colors mentioned above, either scumbled on or put in to small dabs in small pointillism type fields of color on the canvas. I also use just about any other color out there that I can on occassion in small bits, but the colors listed above are the main ones that I usually end up utilizing the most. Most of my works usually end up heading toward red/blue side of the color spectrum because of that. There’s just something about Purple/Violet combinations or near-purple violet that is reached by visual color mixing that I really love – it’s a deep passionate, and dramatic color scheme.
I have a bad tendency to sometimes fall in to the elementary color trap that many artists fall in to on occasions, thinking of blue as dark/cool, red as bright/midrange, and orange for brighter areas than that, and yellows for highlights, instead of really looking at the way things are in reality and trying to match it as closely as possible – where all areas of the color spectrum exist in both bright and dark areas. I do try to balance out that fallacy, which is not always a true representation of reality when I can, but it’s usually a lengthy process since I try to put more and more color range in to both shadows and highlights as I proceed throughout a color pencil drawing or painting — many times I fail horribly and overwork the artwork. It’s hard to know when a work of art is “done.” There are defintitely “levels of doneness” as I like to think of them to any work of art…
Simple abstract forms with simple lines is the first level. The second level takes that and adds more tones or patterned areas to break up the light and dark more. The third level balances things out more and more, making the really complex patterns more worked out with brush stroke placement becoming one of the most important aspects of the work – a small line that’s the wrong color in the wrong place can unbalance everything and cause compositional balance to completely dissappear. Then, on the next level, things really start getting complex… as Professor Bohac used to say, that’s when it’s time for an artist to “fight their way out of a paper bag…” because a simple little thing that’s as wide as a centimeter or smaller can unbalance the entire work…. and as paintings start coming to a level of “reality” that is almost near photo-quality things get even more complex, and the “living elements” of the work start dissappearing more and more… The more realistic a painting gets to be, in terms of photo-realism, the less gestural qualities the work has… Artists, especially those that work with narrative, portrait, or landscape subjects can find themselves in hard to get out of places with their works as they get in to internal conflict about “how realistic” to make the work… since each level of realism requires more work on the entire canvas…
A simple line drawing done in 30 seconds or less can be thought of as a final work of beautiful art just as a photo-realistic painting that took thousands of hours to create can… Any and Everything in between these two extremes is where most artist live. It’s a very dangerous rocky terrain with a lot of smooth valleys full of beautiful smelling flowers. It takes a true artist to know how to balance it all out and make sure that the level of realism is right for the work in question, and each individual area of each work’s composition in question. There’s a different answer for each artists and each individual work.
As I post more artworks in to this blog, I’ll try to explain my own individual tendencies, techniques, and ways of doing things to get my works to where I want them. It is often said that an artist is his/her own most critical judge. I agree with that somewhat. However, that judgement is what makes us who we are, and makes us strive to do better in the future, or to strive to make horrible and hideously disgusting works that cause fear in the hearts of mankind…. It’s all about figuring things out and making them work… knowing the messages you are trying to communicate and trying to find ways to make those messages clear. For me compositional balance is a very important thing. For others, maybe not so much. I’ll try to post more artwork here in the blog later this week.
Interesting Reading – Making a light box… and/or using 1000 watt lights…
Here’s an interesting link I found with info on how to create a homemade light box.
I’m not sure if I’ll do something like that or not. I need to get a setup to shoot some descent quality photos of my paintings to get them in to a digital format to have for my own portfolio as well as here on the blog. I do have a couple of pricey 1000 watt lights I bought from Orchelens a couple of years ago for doing this sort of thing, and never opened them yet… I got them because I read online somewhere that some people were using these sort of things to do sort of a photography studio lighting setup on the cheap by cutting the wires off of the front of those suckers. I think the 1k lights are mainly used by construction workers to light up places that they are building that does not have actual lighting installed in them yet, or maybe for farms for some reason since Orchelens main customers are farm folks…. etc.
I am honestly afraid of those things since I suspect they put off a heck of a lot of heat, and also they have this warning label that I didn’t notice at the time I bought them that says something about they having lead in it so it’s a health hazard!… I also have no idea if 1k lights would work too great for this sort of thing, or what sort of lifespan they have – or if you can even replace the lightbulbs in them?!?… Anyone have any ideas on this stuff? What’s your suggestions on how to get images of paintings in to a digital format via a camera? Normal indoor lighting, even with 100 watt light bulbs usually won’t do the trick.
I’m on a budget so can’t afford the expensive lights that real photo studios usually use… although that would be the best bet, obviously.
I’ve read a lot of places that suggest using real sunlight, but I find that sunlight blows things off the charts in light balance sometimes unless it’s positioned perfectly in balance with where the sun is… Also it’s a major pain in the butt to work outside doing this sort of thing because of wind, bugs that are attracted to bright stuff like drawing paper and brightly colored paintings, and then you also have to worry about clouds and rain… clouds can change your lighting almost instantly outdoors. The bug problem is also a problem if you ever create artwork outside. It’s a major pain to try to paint something outside, walk away from the canvas to get a glass of water or something and come back only to find a bug embedded in your paint.