Well, as it turned out, a couple of days after I posted my “painting demo number two | stage one” I found that the paint had became quite a bit more tacky than hoped. So, I decided to let it completely dry before I put on the final highlights and details. Planning to finish it up tomorrow.
Meanwhile, I’ve launched into a classical art training program based on the Charles Bargue Drawing Course. It’s a “famous and fabled publication of the late nineteenth century…The course was designed to prepare beginning art students copying these plates to draw from nature, that is, from objects, both natural and man-made, in the real world. Like the curriculum of the nineteenth-century École des Beaux-Arts in Paris, whose ideals it shared, it was designed so that the student using it could eventually choose to render nature in both idealistic and realistic fashions.”
According to the book, “It is well known, for example, that Vincent van Gogh worked independently through the course more than once, and that Picasso copied Bargue plates at the Barcelona Academy. Many early drawings by artists of this generation thought to be drawn from life may, in fact, be copies after the models in the Bargue-Gérôme Drawing Course.”
Here’s stage one of “Koi Fish.” In the book*, Iris Scott recommends the paintings be completed in one day. But, I’m not yet able to comfortably stand for more than about an hour at a time, so I’ve been breaking up the process over a 3-day period. Happily the paint has stayed workable enough. So far, so good.
I’ve started into Iris Scott’s Finger Painting Weekend Workshop: A Beginner’s Guide to Creating Brush-Free Works of Art. Here’s my first attempt at the first painting demo in the book. The word that came to mind when I stepped back to take a look at the beginnings of my cloud shapes . . . bismark. :o)
Had a wee bit of trouble going to sleep last night. My sketchbook was handy, so, as I waited (around about 2a) for my med to take effect, I doodled by the light of the moon — my IKEA moonlight, that is :o)
“From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.”
― Hokusai Katsushika
Finished the colour version of my daisy painting. So, how’d I do for values in comparison to the original photo and my monochrome study? I came fairly close to the values in the original. I definitely could have gone darker in the shadows, but there’s better contrast overall compared to my monochrome version.
Now it’s time to do study #2 – after I have some fun with fingerpainting this afternoon, that is. :o)