The inks and the surface are chemically opposed (polar pigments and nonpolar surface), which leads to some very interesting edges in these paintings. 

For the origins of the photograph from which this was done, see: http://nownormaknits2.typepad.com/ (her dog).  The images below have been slightly modified with photoshop filters for color and paint daubs. For the origins of the image see: http://nownormaknits2.typepad.com/ (her dog).

 This post got deleted because of a glitch in Word Press, so I am posting again.  Great work folks!

Last Tuesday we focused on the “Illusion of Depth,” which is based, in part, on linear perspective.  We drew still life using principles of linear perspective, aerial perspective, overlap and diminishing size (a consequence of linear perspective) and then went to the fourth floor of the Davis Center to draw from a distance.  It is very architectural and not as exciting as other aspects of drawing, but so very important for good drawing practice with any subject matter.   Below  are Hunter, Jonah and Ashley, hard at work.  The red dot and line represent the vanishing point and eye level, respectively, for Ashley, which is close to eye level and the vanishing point for the camera (the photographer), but not exactly.  Eye level for the camera is a bit higher.  They are close enough for purposes of illustration.  To get them exactly the same, I would have had Ashley take the picture, but then she wouldn’t be in it!  You can tell things are not exact.  Ashley changed the door from a two frame to a one frame.  But it is close enough.  By the end of the evening, everyone who participated had a good understanding of the principles of linear perspective.

In the first image below of Jonah and Hunter drawing the hallway, there are actually three eye levels and three vanishing points, each unique to the three observers (Jonah, Hunter and the photographer with the camera -me.)  Jonah and Hunter’s eye levels are very close, but their vanishing points are slightly different because each has a different view.  My eye level is higher and my vanishing point is slightly different that both the artists just below me.  It is easier to focus on just one person, so I put the red dot and lines in for Ashley, who chose to sit alone looking down her hallway.

Next week we will begin a sequence of drawings which evolve from Bert Dodson’s new book “Keys to Drawing with Imagination.”

Though Chuck Close has elevated this technique to a high art form, uniting portraiture with abstract art, it is also useful as a teaching tool to help students see shape and value in great detail.  That’s the kind of work we did last night using both graphite and ink.   After about 2 and a half hours of this detailed work, we focused on creating the illusion of depth (Chapter 5 in Dodson), with particular attention to linear perspective.  This was followed by a short graphic quiz on the latter, introducing one, two and three point perspective, as well as the vanishing point and eye level.  Most did very well.  First drafts of papers were handed in and I’ve read them and commented.  They’ll be handed back next time.  Thanks to all of you who worked hard and participated.  Below are some snapshots of our joint efforts.

A very good day, as it always is visiting Tad, the most knowledgeable painter I’ll probably ever get to hang out with for a time.  I’m feeling a little guilty, not keeping up with what I have already learned from him, but it was a treat to see his new studio/house with all the space and all those wonderful paintings now starting to be unpacked and appearing on the walls.  A few are below, along with the magical oils aging well in the sun.  Thanks Tad.  Great day, lunch, ink drawing and visit.  It is a privilege to know you and see what real painting is all about.  If I had half of life to live over again, this is the kind of work I would aspire to.