I just started attending a school in London called the Lavender Hill Studios. I found it through a link off this site and am really enjoying my time there. I've been looking for something like this since I was 16 (Im 24 now, so its taken sometime) They teach traditional methods of drawing and painting, the underlying structure that is so important. There are various classes you can take and Im doing the foundation drawing class. If you live in London I seriously recommend you check it out. The website is here: http://www.lavenderhillstudios.com/
Here are the first couple of cast drawing I've done, we started learning the basics with boxes and while I enjoyed doing them they might be a bit boring to look at!
Hope you like them, I'll try and keep this thread updated as I do the work there. There's also image of the various stages and some life drawing on my blog linked at the bottom of the page.
Last edited by timmyhol; April 10th, 2007 at 06:48 AM.
Ah thats brilliant, I can get there in about 15 mins, and its the perfect sort of thing for me. I'm not planning on going into art proffesionally so although I'd love to, a full atelier program isn't really possible for me. This looks like something I'll be looking into over this christmas.
Really lovely cast drawings too. I quite like the boxy look actually, gives you more time to look at the rendering (which is great btw). I should start trying it out like that - I need a lot of practice at getting the planes of the face (and whole body i suppose) sorted out.
"Never have I seen a greater, or a more beautiful, or a calmer or more noble thing than you, brother" - The Old Man and the Sea - Ernest Hemingway
Yep, I will definately do some more finished drawings. These were really to apply some of the techniques we'd been learning with more simple forms and were the first drawings we've done. I'm hoping to do a couple more that will be much more refined over the coming weeks and will post them here.
lavender hill! i used to go to sketch class there, lovely people.
Patdzon: Yes, the drawings are done that way. First we mapped out the general proportion by drawing a box that represents the entire composition - as if you had a block of marble with the object inside. That allows you to get a general proportion for the entire composition very quickly, two lines are fixed and two can change so you can make corrections. You then work into the shape, trying to map out the object in the most simple way possible comparing distance and angles. Itís a great system as you can get the gesture of a figure/object very quickly with correct proportion. Straight lines are used and you aim to keep everything as simple as possible, ignoring details until the last stage of drawing. The shadows are worked in the same way. What I like about this system is that it gives you a really solid foundation to lay on your own style and expression, you can be as loose as you want but have a really solid framework underneath.
Below are a couple of still life paintings I did recently, the first was at the evening class over two 3 hour sessions. The second took a little longer, but both use the same principal of keeping things simple and relating one object to another. Ive put in two images as the close up looks a little wierd as the light from the scanner has reflected off the bumps on the canvas board. I tried to sort it out in photoshop but couldnt fix it.
Iím really enjoying my time at the school, so much so that Iím giving up my job! Iím going to work two days a week to pay the rent and eat and the rest will be painting!!! So now I will attend the school from Wednesday to Friday. Can't wait!
Beautiful paintings timmyhol.. please do show us some more.
Interesting approach! I also use a similar method. Its also relational seeing, but I use an envelope, it has a similar function to the box you use wherein it encloses the whole pose. May I know where your instructors learned this approach? Thanks.
You can find more information about the instructors here: http://www.lavenderhillstudios.com/instructors.php
Ann and Scott both studied at Charles H Cecil Studios in Florence and Nick studied at the art school of J.T.Llado
Here's a more finished cast that I drew about a month ago. I found it difficult, particuarly the mouth, the model looked like it was sucking its top lip in....very strange. Still, as always I enjoyed doing it and learnt alot and thats the main point at the moment. I hope everyone who celebrated Christmas had a great time and Happy New Year!
......sorry the image didnt post!!!
Last edited by timmyhol; January 1st, 2007 at 02:05 PM.
NICE paintings! Haven't yet done a serious still life. You're way ahead of me there. Very naturalistic and rich in color. Thanks for your nice comments in my SB. Lavander Hills sounds wonderful. May you continue to enjoy and reap benefits from instruction there.
Last edited by AztcFireFlower; January 3rd, 2007 at 07:26 AM.
Thanks for the comments. Justin - I agree, having looked around at various places the time it took to do this drawing was a little short, the paper had quite alot of tooth. It was done throughout the course of a day along with another line study.......it seems like a finished one should take a couple of weeks full time, is that about right? Im starting the course in the next few weeks, so hopefully we will get more time to do the drawings. I would really like to try a polished drawing, with the cast placed next to the paper too. I think I'll start some Bargue copies as well as I can do those at home. Anyway, when I start I'll update so hopefully I'll have some more stuff soon. Thanks again.
Hello, I've started the course at last! Three days a week Im now in the studio!!!!
After doing a little research I think my last cast drawings were a little rushed to say the least! so, I've now started one that I expect to take around three weeks. The images below show the first few days work and the corrections I need to make. The process we use is to place the paper next to the cast and then mark out a spot around two meters away. No measuring is used instead we relate the angles to each other and box out the form. As you can see from my corrections page Im out by a bit but I'll sort that out next week. Sorry the photos are so rubbish.
Really like that these are from the actual cast and not the Brague plates.
Just a quick update. I haven't had much time to work on the cast this week, I've been doing a lot of painting instead which I will post tomorrow when I can get to a scanner. I tried to work on the line drawing and correct as many errors as I could, but in the end I had to move into tone to keep myself sane. This of course made it much easier to see where I was going wrong. This drawing still has a lot of corrections to do before I start working into the tone. I'm having particular trouble with the areas around the eyes so I'm really going to focus on that next week. I can also see that the angle of the head is out on the right had side......it seems like there is still a lot of pushing and pulling to do, at least the changes are getting smaller!
Here it is....again apologies for the photo!
tymyhol nice work.. i finally starting one myself ..i did study at mims studios and is one of the hardest schools..i never got to do a sight size cast from life..but I know how finish they should be..yours like you said seemed a bit rushed..take your time..it should be perfect...use a mirror constantly..and close one eye when you are way back to check your cast.. here are a couple of pics from MIms studios..they are nicely done..but some take 6 months/ even more..is insane but the quality shows..
charcoal on white paper.
charcoal and white chalk on tone paper
here is one work of the director there..
look at the soft transition of tones..this is again charcoal and white chalk on toned paper..I have seen it in person ,and its huge..life size..this guy has an unvelibable touch..
Last edited by the_allejo05; February 4th, 2007 at 11:22 PM.
Thanks for putting up the examples, there great drawings! 6 months though!!!! I don't think I could do that, I would go insane. Along side the cast drawing I've been doing some oil sketches. Generally I will work on the cast in the morning and then whenever a model is in I will paint. I find its a good way to work as it keeps me disciplined and focused in the morning and I can be a little more expressive in the afternoon.
Here they are:
I haven't updated this for ages so I thought I would post some new stuff. The old cast drawing is still under way, I don't know how much longer Im going to get to spend on it, but Im learning loads. I've been busy painting a big portrait, but Im going to wait until its finished to post that one. We've also been doing some quick oil sketches. The full colour one was the longest pose, I put on my blog that it took 20 mins.....I'm not sure now, it may have been longer....in any case the aim of the study was to look at gesture, I think next time Im going to have to push them a lot further. Anyway, here they are:
those are nice studies. Tymihol, I think you are thinking too much of time, for time is a concept in our minds and in your clock! A piece of art should take you more than what you have done..if you are tired of it..put it away and come back later..do not give up ..that is why I put those up there..to see what people can do (most of these guys are not as talented as you are, I know that for a fact) and still they surpass you..because they have patience and faith in themselves in what a human being can do. If not look at any art created thru history is highly crafted ..done by hand so perfect that we even marvel at it and put it on a museum to admire. Dont you think you can do that? Im not saying your gestures are not excellent ,but your finished piece should reflect that same quality... art happens in two ways.. either very very fast..or very very slow.. there is no middle ground.. just like anything in life. So keep pushing. Nothing is easy if its well done.
Thanks to every one for your comments. the_allejo05 I have to disagree with you I'm afraid, I don't believe that a work of art can be judged on the time it took to produce, in fact I think it is irrelevant. The reason I talk about time in relation to the cast drawing, was due the fact that initially I had no idea that people would spend weeks on the studies. I wanted to give myself some more time to work on a drawing to see what I could learn. The drawings you showed are very impressive, and the artists very skilled but I don't think they are works of art. I see the cast drawings I do as studies to learn from, if they look good at the end then that is a bonus, the point is that I learn something from the process. I have tried to be as accurate as possible, but I think I could learn a lot more in a few months by doing a number of drawings rather than just the one. That of course is individual to the way I work. Harold speed writes a lot better on this subject than I do, its worth hunting out his books, even if that is the direction you don't want to follow.
.........here's an update with some of the stuff I've been doing recently
Wow man, you have some serious skills. If I may ask, what are your plans in art after your done school?
I agree with Scribbles about your talent, but I also agree with the_allejo05 about the importance in completing fully rendered studies. Though I think that you are right that the works are not art in themselves. By spending 100 hours+ on a piece, as a student you will learn proportionately that much more about the subject you are portraying. This way we don't skip over the any subtleties. Even at the end of these arduous studies many hours in, I find myself realizing things so important that if I had not taken it as far the lesson would never have been learned. But I also agree with the thing about art being really, really, fast, or really really slow. Ton's to learn with both approaches. I feel that anything less than fully-developed work should be done as fast as your skill/hand will allow, especially from the live model. Just don't overlook the possibility of dedicating a decent chunk of your time to something until it looks as much like the subject as you know is possible. Then you will know you have done your job as a student. Not an artist ,because the artist can judiciously evaluate what to include in his/her picture much better than the student.
Another note on the subject. I really feel that absolute accuracy of mind, hand, and eye is a prerequisite for an accurate simplification of any subject if you ask me. You must learn the whole language before you can come up with a shorthand version of it.
Keep up the hard work, it'll pay off undoubtedly.
Last edited by DecktillDawn; March 20th, 2007 at 11:16 PM.
The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.
Theory and Practice of Perspective, by G.A.Storey
I am just curious about art school applications for fine arts schools, and MIMS in particular. What is the expected talent level for incoming students? How much prior training do they need? How many students do they take?
I love cast drawings. And these are no excpetion. Or rather, they are exceptional. Keep up the good work tim!
Amazing work here, dude. I'm amazed.
Thanks for your kind comments. I haven't added some work for a while so here's and update:
This is a painting of Luke who I help with his Karate at the weekends. Unfortunately it wasn't possible to paint from life for this one (I don't think he would appreciate the smell of turps!) so it was done from various photos. Its oil on canvas, I can't remember the exact size, sorry for the poor quality jpeg.
A cast painting:
My first charcoal portrait!! While I was pleased that it looked like the guy, it its actually very wonky, should have spent more time on the construction I think!
Finally my first long portrait sitting from life, this was 3 three hour sessions over 3 weeks.