My name is Miles. I'm a 16 year old art student interested largely in figuration, classical and modern. I work with a few other artists (at the local studio and critic-contacts) in the forum, Moysturfurmer and Ammoburger, whose sketchbooks I highly recommend. I'm posting some recent work first off, a lot of master studies and a couple of life. I'm open to any commentary - value related especially. Thank you.
Gustav Klimt's Sophia Knips portrait - charcoal
My Dad in charcoal - truncated the body a little
John Sargent's portrait of his teacher, Carolus-Duran - charcoal
Head of Medea by J.W. Waterhouse - charcoal
Unfinished self-portrait in black colored pencil
John Sargent's portrait of his sister, Emily Sargent (unfinished) - charcoal
Last edited by Listing; June 28th, 2006 at 02:47 AM.
Welcome to the forums, yor work is already starting to look very nice for someone so young.
For tonal control, I would first start off by saying that the general aim of large areas of graphite/charcoal is to apply an even layer of the medium with not too much indication of the stroke direction. Use a stroke that comes from the broad side of the scribe tool.
Hey, we're the same age! We could be like. Twins or something. Sargent's a god; I enjoy the way the one of Duran's turning out. If you're really interested in working like he did, you're going in the right direction working mostly with shadow. Try and get some more expressive marks - part of the magic in what he did was his rendering of cloth - terribly expressive in contrast with his immaculate faces. Gaaaaah, so pretty, everything. Oyster Gatherers of Cancale is fantastic, as are the series of women in venetian streets. Where do you go to school, out of curiosty - art school, or is it an art program in a public school?
One more thing, I apparently forgot to mention in there. Try working on white paper without a white pencil - using the eraser to make whites would be useful in getting a more smoothe feel, and white pencil's kinda violent to offset your darks. You have maybe 7's or 8's on the dark spectrum, and these glaring whites to offset them without any real transition, a transition which is rather difficult to attain when you're not really able to use the tone of the paper as a kind of middleground. Just get yourself one of those cylinders with replacable erasers, the ones you can just pop out. And get yourself a nice chamois. I dunno if you know what I'm talking about, but try and decipher that.
Magic Man - right, I need to describe mass and plane, visualizing larger value surfaces (I get very linear). Thanks.
Myxomatosis - true, true. Technically, for the better, working with white paper and the mass which I should be describing with a chamois (not the line with charcoal stylus) is the way to go. I like to cheat with vari-toned papers and defined whites. I admire Sargent's work, especially for what its study can afford me, but I'm not fanatic. Great taste though. Check out Ammoburger's sketchbook. As for art studies, I'm currently attending the Valley Art Institute (independent business) in the San Fernando Valley (SoCal) with art college prospects.
A quick value study of Sargent's portrait of Monsieur Pailleron.
I did this a little while ago, a charcoal study of Nerdrum's "Boy with Twig"
Today, two line study sketches with skulls
You should so do a study of "Morning at Shitrock."
It's an actual painting. I really don't think Nerdrum's ever seen anyone drop a load. Every time he paints someone taking a crap it looks like a slurpee machine's depositing chocolate shakes out of their ass.
Here's some Bridgman anatomy from earlier this year
Then, some Waterhouse portraits from a few weeks ago, really indistinct:
And, an oil self-portrait from a few weeks ago. I used the excess paint from another piece which turned out horrible, wrong colors and no eyes.
I'm tired of copies and I don't like self-portraiture so much. I'll get some original and life work up throughout July and August because of my art classes. I'm currently cloistered as a classical copyist.
I updated the Emily Sargent at the top, still unfinished, I should have a while ago.
Some more Sargent portraits
Life studies from a few weeks ago. 3 five minutes and 1 one and a half hour. They're hard to see and on newsprint, even worse. I'm slow with the long poses.
I was drawing my little niece today, didn't really get anywhere with the portrait.
I want to get some real work up. I'll try.
Thanks for droppin by my sketchbook man! Lookin good in here, keep it up!
Procrastinator At Work - Eventually!
* Help a CA artist! Visit the Constructive Critique section! *
"The problem is, the world these kids create for themselves is at first a very crude one. If you leave a bunch of eleven-year-olds to their own devices, what you get is Lord of the Flies."
Hey Thanx for commenting on my sketchbook You're stuff looks great, the fluidity and suave of you're lines are very impressive, keep it up !
Dropping by here from my sb, thanks for the comment. At 16 you're doing really well. I think I was too wrapped up in xmen and anime, I know I know.
I'm not too versed in charcoal but I do know the kneaded eraser is your friend for details and highlights. I'd lose the white stick used in the first few posts too.
I did a double take when I read that one piece was 1 1/2 hrs long. It's good that you're training your eye to catch all the angles but it doesn't look much further than the 5 minute ones.
Keep up the good work man, and remember to work from imagination too.
Two pen sketches from the past week - a white cherub figurine and rope And a Nerdrum and skull study
Then, classes started today. Two pastel portraits : 4-5 min each. If you'd like to offer, here a critique is most wanted. I've never done this before.
Thanks to Techloveaffair and Danica.
MrBobMarley - I'm trying to quit with the harsh whites. I need to advance with charcoal, I know. That's true about the long figure. I've been training the simple points and angles out of my life drawing for the past few weeks. Full figures with more aesthetic line and value work. Thanks for the crit.
How the hell am I supposed to compete when there are schools everywhere filled with kids like you? =(
Keep it up man.. I'll drop in again soon.
Fishspawn - thanks. I'm trying to adjust myself to faster and more expressive work. It's hard to find the direction for greatest accomplishment.
Pixeldragoon - It may seem a little self-secure to even comment, but it's just hard work. I don't go to an arts high school like the "Carver kids" but I work much at a local studio. Draw always. Thanks.
This should be the last of my harsh study sheets. More Sargent work.
Some pen sketches from a French impressionism book. Renoir and Degas on the first and Manet on the second. Since I'm not much of an illustrator, I tried to render the Manet copy with some kind of illustrative economy - experiment.
I feel guilty doing so much copy work.
so much emotion and line quality!
Thats exactly what I like to push too, (and will be more aware of now) line quality/flow, You seem to do it effortlessly. Well done. Only thing I could suggest is maybe playing with concepts/ideas from imagination... Keep it up!
So, I'm trying to move into a little color. Here are two pastels. The first of my mom (45 min) and the second of a still life - skull and books (1 hr). I'm not well acquainted with pastel and tend to apply line instead of mass. I should layer, right? If any have some experience with the medium, please give me a note.
Thanks for stopping by my thread. I think I'll take you up on that advice. I like what I see but some of the early stuff was entirely too blurry. I like the recent stuff also. I'll check back in on you
For these pastel line drawings. I would like to see long flowing lines describing the form to balance the short lines that stop abruptly. A well placed line will lead your eye and create clarity in the drawing. By introducing a line that the viewer can grasp onto, indicates that you are aware the form of your subject and confident that the line represents it accurately. I guess what I'm saying is that don't let the viewer guess that its a hand, or that its a couch she is laying on, or if her arm is under something. But rather suggest it. The more clarity in the drawing that you can get with less line is arguably the most important aspect in drawing. I am also noticing the lack of a focal point in both pastel drawings. I have learned that "If everything in the drawing/painting is important, then everything in the drawing/painting immediately becomes unimportant." When everything in the drawing is filled with flamboyant color and described equally then the subject becomes less interesting. I'm putting in my honest input because I like the direction your going in but I would like to offer my own suggestions, and I expect the same from you.
Your proportions are looking great and I'm loving those charcoal drawings a lot.
Saikin - the shutter adjusts automatically, not always for clarity - bizarre. Thanks for the comment.
Spencer - Good critique. True all. When I enter a new application, value or color, I tend to symbolize it. As you've seen with much of my value work. I need confidence, so I'll try to work out some more, more painterly (and layered) than above. More work should also help me with defining those focal points, even though I dp have general issues with compositional principles. Always honesty, there's only up.
im speechless.... its very loose ...
do you have any peices in which the line work is much more tighter
im curious to see how those peices look like
Awesome stuff Miles. I expect the RISD bike will be put up here when that's finished too right? And it's nice to see you've finally got a sketchbook. Although, I could have used that information earlier. Jeez.
White Rose - The tightest drawing I have up is probably the charcoal portrait of Emily Sargent, up top. But it isn't so, I know. I'll have more secure work up in a while.
Chris - Thanks. I'll post the bike. I think I'll do some studies of bikes and post them in preparation.
Here are some sketch book pages. Nothing conceptual here. I'll try a little of that and have it up eventually.
So, they're all interiors: the first - kitchen and my brother lying in the middle of the frame
Second - Kitchen and dining table
Third - lamp on table and a few foot studies