Common issues discussed at our Portraiture Clinic:
And what did we learn?
We all went home with big smiles from putting theory into good practice, and with a pile high of resources to keep drawing from.
The next Portraiture Clinic is tentatively scheduled for Saturday, January 20th, 2-5pm.
email Jessica@jessicaantonelli.com if you’re interested!
I got a great question awhile back from an art student-to-be.
The short answer to her question? I was using you guys as guinea pigs to see how I can transform your BRAINS.
Here’s what I really replied…
“I am experimenting a bit with the formats, but I designed this 3/hour a day experience based on some of the latest science on deep focus and re-wiring your brain.
The 3 hour block is about as long as you can optimally focus, with no distractions, for some SERIOUS brain re-wiring. I am excited to test out the theories I have been reading out in the book Deep Work by Cal Newport by putting them into action in this class. So, that’s the main difference!
The 2 hour class will not hit the full un-distracted 3 hour block as today’s class, but I will assign homework for each day during that week, so the focus would be a bit more divided. But the same material will be covered, and as always I customize the drawing subjects and mediums to each unique art student.”
I’ve been really influence by the book Deep Work, and another super-cool non-fiction book, Mastery, both of which have some exciting implications for how people can learn more deeply and more quickly.
Maybe I’m outing myself as a millennial by my amazement at what our brains seem to be capable of without the distractions built into our social-media mania lifestyles.Concentrating and focusing without distractions for 3-4 hour blocks can apparently super-charge your cognitive abilities to improve skills (like drawing!) and I wanted to try it out on my students 😉
By using this method, I hypothesized we’d be able to advance more in 2 weeks of 3 hour time chunks than in a longer session of only 2 hour classes.
It’s been a month since my experiment began, and by now I’ve been able to compare student’s growth between 2 and 3 hour class sessions.
Guess which one works best?
3 hours of deep work, just as Cal Newport discusses in his book, have made a noticeable difference in student’s ability to make significant progress in just one week.
Check out some of their work!
Although we accomplished a lot in the 2 hour class sessions, it often felt like we were leaving just as we were really getting into the groove.
Check out the videos and links above to learn more about mastering skills and working deeply! It’s so useful for all kinds of creativity.
And if you’d like to try out a 3 hour session yourself, sign up for 10 Steps to Drawing class this December or January. No classes Feb. 2018, but stay tuned for the spring schedule coming out before the new year.
Have you been having trouble making people’s eyes “look right” when you’re drawing a person who’s not looking RIGHT at you? How about just getting the facial features where they’re supposed to be in the first place? Or how to make a flat, cartoony-looking face come to life?
Bring in your portrait-drawing problems to Studio Antonelli’s Portraiture Clinic this Saturday to cure what ails your portraits!
We will cover common problems to drawing realistic faces:
-Proportions of the Facial Features
-How to draw eyes at 3 quarter angle
-How to draw profile portraits
-Adding realistic shading and light to portraits
-Extreme angles of the face (as requested)
But mostly we will be working with exactly what YOU need help with!
Please bring in any faces you have drawn that you are not satisfied with. We will pin-point problem techniques and give you step-by-step demos on how to fix them. Lots of hand-outs and reference materials will be sent home to keep your portraiture practice improving over time. Bring your sketchbook and preferred drawing materials. Materials can also be provided on request for those who don’t have materials with them in SMA. Cost: $500 pesos or $30 USD
Email firstname.lastname@example.org to RSVP or for more info
It’s a familiar story.
You fall out of practice with your drawing…heck, you probably never had a solid drawing habit built up in the first place.
There’s that nagging feeling that your drawings…suck.
Perfectionism turns into procrastination.
The next time you look at the sketchbook, it’s been months since you last drew anything.
THEN comes that little judgmental voice in your head… “You’re a bad artist,” it hisses, meaning both in dedication AND ability.
When I hear that inner criticism, I have to remind myself what that voice really is: I’m Battling Artistic Demons= BAD.
Elizabeth Gilbert’s monumental TED Talk on creativity illustrates beautifully how naming and battling those demons is just as important as thanking the muse–and showing up to work for her!
When I battle my artistic demons, I know I have to toughen up with my own recipe of drawing drills and exercises I call Bad Artist Bootcamp.
The more in Bootcamp, the more accountability, so I’m inviting you to join me for FREE.
1 week ONLINE challenge, kicking off Monday, September 18th.
You and me, drawing with focus and fearlessness, for 7 days.
All you’ll need is about 15-30 minutes a day to watch the short videos and do your drawings.
You’ll get a power flow of drawing exercises to get your drawings in shape quicker than you thought possible.
But more importantly you’ll be receiving mega-doses of inspiration in you inbox each day to get your new drawing habit jump-started.
Get your drawing challenge delivered daily to your inbox. Mega motivation will have your drawings go from bad to badass in just 7 days.
Bootcamp is always better with a buddy, so share this with a friend!
You have a choice to leave behind your artistic angst and be a better drawer in just 7 days. Or you could hand over the victory to those artistic demons telling you:
“You don’t have time”
“You’re not good enough”
“A week! Not even a year could help me become a better drawer!”
If you’ve read this far, there’s something in you that would really like to learn how to draw. Don’t worry about why for now, just trust yourself and treat yourself with this bootcamp! See you in there.
Without really meaning to, I seem to have embarked on a How-to-Begin-Your-Drawing series.
I spent some time in our last post on technique: making sure our drawing fits on the page and is in correct proportion and scale.
Today, I want to talk about your mental game. It’s so important to remember that learning to draw is a journey and NOT series of masterpieces one after another.
I like to remember Dimitri Martin’s great visual breakdown of what success looks like:
All of us here are just beginners compared to the masters that inspired us to draw. We WILL improve as we commit hours to following in their footsteps, but we’ve got to remember it’s an ongoing path with many phases when the going gets rough.
What is a beginning artist to do?
Remember to set an intention for each drawing you begin. Focus on one element of the drawing which will build your skill set and ability to engage in different ways of seeing the world around you.
Here are examples of possible intentions you could set for a drawing:
-Create an accurate LINE drawing;
-Focus on shading and VALUES;
-Loosen up in a short, timed warm up series;
-Draw 10-minute studies before beginning a longer drawing
-Look at the page as little as possible. (This can help boost your speed.)
Spending time erasing and tweaking a single line can make a single drawing take days. Instead, up your pace and use continuous, confident lines as much as possible. We learn more from committing to an unbroken but inaccurately drawn line than a hesitant, feathery, and oft-erased line.
It can feel soooo yucky to watch your drawing sit there on the page just…wrong. Inaccurate. Not perfect.
Worst case scenario: you end up with a terrible drawing. The good news is, hey, your drawing is done! You got there faster and with better line quality. Now start a new one and see if it sucks a little less.
I’d like you to consider that any terrible feelings of inadequacy are going to start re-training your brain real fast (we remember our mistakes 3x more than our positive outcomes). It’s a learning curve, which can be bumpy, but the sooner you start the habit of continuous lines, the better! You’ll draw faster and more accurately.
Are you a perfectionist?
This post might sound like kryptonite for the meticulous among us, and easy for fast-drawing sharp-shooters. Comment below with what #number you think you are on a scale of 1- 10, 10 being super-anal perfectionist, 1 being a wham-bam jam things together type?
So, hopefully you have checked out How to Start a Drawing by beginning with simple guidelines. Now let’s apply similar steps to begin a drawing of our hand, and then finish the drawing up with some simple shading.
Don’t freak out yet! Yes, hand are complicated, but everything is made up of simple forms, like the cylinders we began last lesson with. We work with the hands a lot in 10 Steps to Drawing, because they can be so expressive and architectural at the same time.
Look for Big shapes First, then Small shapes…
Step 1: Begin with the End in Mind: What scale are you drawing? (large or small?) Where will this fit on your page? (top, bottom, middle?) Is there room to grow in case you have to adjust the proportions as you draw?
Step 2: Find the “aura” of your hand, imagining it has a light shape surrounding its outline. Use the air-drawing technique to practice the curves, then commit to lightly drawing a guiding shape on your page
Step 3: Find the biggest shape or curve in the hand that pops out to you. Here it is the rounded rectangular shape of the thumb. Less is more at this stage. I’m using pen but I’m still drawing lightly.
Consider also the curve between the fingers. Imagine a light arcing line connecting them, and lightly draw it in as a guide your fingers will fit within later.
Step 4: What is the next biggest shape that pops out to you? (Avoid details!) Search for the Negative Space (between and around the fingers and around the hand) and draw those “shapes” to maintain proportions. .
Don’t worry if you have to adjust away from the original guidelines your put in. They’re only there as a suggestion
Step 5: Begin to find the areas which are shaded on the hand, and for now evenly cross hatch lightly in a value-map.
Step 6: Start to add variety to the quality of your lines. Where should the lines be thicker? Thinner? What kind of hatching or blending can you use to create a full value scale (a range from light to dark?)
Step 7: Now that you’ve got your hand’s architecture in, go for more detail: texture and shading. Remember to consider your light source as you shade.
Step 8: Emphasize the core shadow in the fingers and palms to get the cylindrical quality of the fingers. I went ahead and darkened some of the edges of the hand, but not everywhere. Sometimes it’s nice and lends a sense of a highlight to have a very light or disappearing segment of your outline.
So now we’ve got another take on how to begin a drawing with guidelines and marking out big proportions on the page BEFORE moving on to details.
Now it’s your turn 🙂
Take a minute to sketch your hand on a piece of paper near you and comment below on what you though was the hardest part of the process. Extra points if you add a photo of your sketch!
With a blank page staring at you, it’s hard to know where to begin in your drawing—and almost painful to make the first mark!
What NOT to do:
Begin by drawing the most interesting feature of your subject (be it a portrait, landscape, or still life) and get it perfect before you move on to the next part of you drawing.
When you begin with a small detail in your drawing without first checking that the proportions of the whole piece will fit on the page, you may end up with your drawing “growing” beyond the limits of your sketchbook. The drawing is like a photograph with the person’s head chopped out of the frame.
Start by marking off the outer limits of the subject you are drawing, and key guidelines that will help you navigate your way through the drawing.
Here are examples of ways I begin drawing by marking off my composition and get my drawings started.
Step 1: Begin with the End in Mind—how big do you want this to be on your page?
Step 2: Use a straight edge (such as your pencil) to find the width of the farthest edges of the cylinder
Step 4: Using the width of the cylinder as a “unit” of measurement, count how many units of height your cylinder has (this one is just about 1 x 1 )
Step 5: Mark out the height of your cylinder with small tick marks (as above)
Step 6: Use the “Air-drawing technique” to find the curve of the upper and lower eclipse of the cylinder. Create mini-muscle-memory by tracing the curve in the air a few times, then COMMIT and draw the line lightly in a single curve on your paper
Step 7: With your eye on the place you want your pencil to end up, boldly draw a continuous line as vertically as you can to finish your cylinder
Step 8: Consider the light source, and shade accordingly
Step 9: Squint, so all your lines look blurred. Then keep turning up the contrast-yep, even more. We are aiming for a core shadow on the opposite side of the light source and a subtle gradation from dark to light.
And there ya go, our cylinder is complete. Without planning our beginning proportions and considering the light source in our first steps the drawing can fall apart. This may be a super simple example, but it applies to anything we could think of to draw. We’ll check out a more complex shape, drawing the hand, in the next post!
In the meantime, try sketching this cylinder yourself, and pay close attention to the way you begin your drawing. What steps do you take?
Comment below and let us know how your steps are working for you 🙂