Ernesto

I completed a second year at ARA with a very long Saturday long pose. The model was gracious enough to pose for 30 Saturdays from September - June. I used Nitram charcoal on Roma paper. Even with such an extended pose, I still could not "finish", so I focused on the chest. I had to make sure the half tones were not too dark and then I worked on the convexity and conclaves of the chest. Also, I wanted to make sure I rounded the form with big form modeling. I also concentrated on differentiating between sharp and soft edges on both the contour and the shadows. Emmy is the BEST instructor! Other than the chest, I had to work hard making the model's right leg turn front. I wish I had the time to render it more! I struggled greatly during the construct phase, which is something I am disappointed in. I should have been able to work more quickly on that. I have been unable to take a decent picture of the drawing. The true hue of the paper is somewhere between the next two images.

Portia.1 Hour and a Half at QAA

Quick sketch. Great model. I used charcoal paper, and I was unable to maneuver the Conte as well as on the drawing paper I used with Ilya. She is distorted, but I had no room to step back, and I did not measure at all.

Cartoon - Ernesto

A few adjustments to my cartoon next week and I'll be ready to transfer:

Long Pose in Charcoal

This long pose of Laura took me 90 hours of class time, plus time at home to fill in the background.  Class was at ARA Boston with Emmy DeMusis on Saturday mornings from September-June.  I worked on Roma paper with Nitram charcoal.

Construct:

Transfer:

 Darkest Dark and Background Values:

Value Study:

 Shadow Shapes:

Working in Shadows and Darks:

Big Form Modeling:

Big and Small Form Modeling:

Still some work to be done rendering, but I did the best I could in 90 hours. I could have used another 10.  I however feel so fortunate that Laura was able to stay with us on Saturdays for the entire school year.  A couple of goals accomplished: 

1.  I experienced big form modeling for the first time.

2.  I maintained the fall of light by keeping the lightest light the paper.  

Ally: 60 Hour Pose at ARA

I had the extreme pleasure of working on a figure for 60 hours, the longest time I have ever had in front of a model.  Though this falls far short of the 100 hours full time students at ARA are afforded, I feel that, with the assistance of my fabulous instructor, Emmy DeMusis, I was able to accomplish much.  I was extremely excited about the likeness I achieved, but I wish I had more time to render the figure. I focused on form, value, and the transitions of Ally's head.  I actually spent more time on the drawing than the 60 hours with the model, because I filled in holes, and smoothed out values during downtime.  I used a 2B, HB (last 40 minutes of the pose) on Fabriano Artistic, Hot Pressed, 140.  I tried a brush for pushing in a light value, but wasn't comfortable with it.  Furthermore, Ally was an amazing model!!  She has a great head, and pleasant demeanor which made for an all around amazing experience.

Basic Steps:

1.  Construct (39 hours)

2.  Transfer and establish a base tone for darks

3.  Key the drawing by establishing the darkest dark

4.  Work on form shapes and values

5.  Transitions

Constructs and a Green Box

ARA-Costructs of figure.  I also started Agrippa, my first Bargue.

Color study-green box.  This was the third exercise in Stern's How to See Color and Paint It.  Again, my colors aren't perfect, but I was able to see the seven color statements the author wanted the reader to observe.  I must work on obtaining a better set up area.