On 29 Jul, 2011 With
Part 2 The beginning of this article The technique used is quite laborious, involving small circular or oval strokes with a sanguine pencil. If you have ever worked in lithography, you may notice that drawing with wax sanguine on the paper and using a lithography pencil on the lithography stone gives the same feeling of the surface. This is because the viscosity of pencils and the circular movements are similar, whether working in wax sanguine or doing lithography. The circular pencil movements are best suited for when the surface needs to be evenly filled in. The pressure of the sanguine pencil should be varied. The more gentle the pressure, the lighter the result. In the shadow places, more pressure should be applied. Layer…
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On 28 Jul, 2011 With
Join the Club to view this Video Lesson » Part 1 This Video Lesson presents the drawing with sanguine. It demonstrates how to capture effects of light and shadow on a drawing of antique bas-relief sculpture. How to use sanguine and white chalk on toned paper. This exercise of sanguine drawingwill improve your drawing experience and skills of depicting 3-demensional objects on flat surface of toned paper. In this video we are going to make a study of a fragment of the Parthenon sculpture in sanguine technique. We begin with transferring the drawing outline and finish with the white chalk highlighting. For the Parthenon sculpture study we have chosen a good quality, unevenly tinted thick paper, which is very similar…
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On 26 Jul, 2011 With
This Video Lesson presents an example of making two drawings in which you will learn how to draw relying on unique lose strokes only. You will be able to create your drawings fast, freshly, impressive, emotionally fulfilled and reminding the etching effect. Such technique is great for both preparatory sketches and finished artworks. Video is based on two drawings made by Natalie Richy. Here is another good example of portrait drawing where you can achieve great results with a minimalist approach. This drawing is done in the same style as the previous one. Graphite drawing techniques are virtually endless. Any way that you choose to apply graphite to a surface will produce some sort of interesting result. To begin with,…
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On 24 Jul, 2011 With
In this video lesson you will discover how to create very effective artworks with minimal means. Good quality paper is essential for this kind of artwork. Ideally, paper should be strong enough to take a sharp graphite pencil and it should also be eraser resistant. You can search your art supplies shop for paper that is suitable for drawing, in the required size. Don’t be tempted to replace drawing paper with watercolour or sketching paper, even if you like the surface texture. Watercolour paper is not as resistant to a rubber eraser as smooth drawing paper is. We have chosen a 42x 59 cm sheet of paper for a reason. A portrait of the character with a face measuring 9…
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On 14 Jul, 2011 With
Modern interpretation of Caravaggio’s “Judith Beheading Holofernes” Caravaggio’s Oil Painting Technique – Learn from the OLD MASTERS
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On 11 Jul, 2011 With
Learn from the OLD MASTERS The Pietà (pl. same; Italian for pity) is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most often found in sculpture. As such, it is a particular form of the Lamentation of Christ, a scene from the Passion of Christ found in cycles of the Life of Christ. When Christ and the Virgin are surrounded by other figures from the New Testament, the subject is strictly called a Lamentation in English, although Pietà is often used for this as well, and is the normal term in Italian
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On 10 Jul, 2011 With
Learn from the OLD MASTERS The Ambassadors (1533) is a painting by Hans Holbein the Younger in the National Gallery, London. As well as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It is also a much-cited example of anamorphosis in painting. The most notable and famous of Holbein’s symbols in the work, is the skewed skull which is placed in the bottom centre of the composition. The skull, rendered in anamorphic perspective, another invention of the Early Renaissance, is meant to be a visual puzzle as the viewer must approach the painting nearly from the side to see the form morph into…
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On 7 Jul, 2011 With
What they learned from the OLD MASTERS? From Raphael. The Portrait of a Young Woman (also known as La fornarina) is a painting by the Italian High Renaissance master Raphael It is probable that the picture was in the painter’s studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano. The woman is traditionally identified with the fornarina (bakeress) Margherita Luti, Raphael’s Roman mistress, though this has been questioned. The woman is pictured with an oriental style hat and bare breasts. She is making the gesture to cover her left breast, or to turn it with her hand, and is illuminated by a strong artificial light coming from the external. Her…
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On 4 Jul, 2011 With
What Édouard Manet learned from the OLD MASTERS? Manet’s composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi’s engraving The Judgement of Paris (c. 1515) after a drawing by Raphael. Scholars also cite two works as important precedents for Manet’s painting Le déjeuner sur l’herbe, The Pastoral Concert, 1508, by Giorgione or possibly Titian (in the Louvre) and Giorgione’s The Tempest, both of which are famous Renaissance paintings. The Tempest also features a fully dressed man and a nude woman in a rural setting, as an important precedent for Manet’s painting Le déjeuner sur l’herbe. The painting Pastoral Concert, even more closely resembles Le déjeuner sur l’herbe, featuring two…
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On 27 Jun, 2011 With
Art inspired by Michelangelo’s David How to create artworks in style of the Old Masters
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