Wednesday, June 29, 2011
"Graydon's class is amazing. He is more logical and systematic about his palette and how he mixes his colors than anyone I've met. He uses the Munsell system to completely explain what light and color do to our eyes in reality. He boils everything down to three major factors. It's all hue, value and chroma and there's nothing else. That's all that color is. That's all that painting is.
On the first Friday of the workshop, we went to the Met to analyze the Master Painters and to objectively evaluate how they were using color.
Back in the studio, Vivian uses the colormunki to scan the local of Greg's hair. We did not test the image on his t-shirt. We did test his arm, though.
This is a trompe l'oeil painting of high chroma paper strips done by a workshop participant. Everybody who takes this workshop for the first time does this exercise. It is meant to show how chroma and value decrease as light decreases.
A color wheel that shows each hue in its highest chroma. This is also an exercise for first time participants. This was my second time taking the workshop, and I worked on a more advanced project.
This is my palette. I have mapped out the various strings for different flesh tones in different ranges. From left to right it moves through value. From top to bottom it moves through chroma. All the colors were mixed to match the chips sitting on the right of the palette.
Graydon helped me to map out all the pigments in my paint file and figure out exactly what they were in terms of hue, value and chroma so that I can use them more effectively. We experimented with the ways that different brands and hues stacked up on the actual color wheel. This was the first time Graydon or I experimented with this in this way. We found this to be very enlightening to see the nuance of how different pigments shift as they move through different values and chromas.
What intrigues me so much about Graydon and his color theory, is the logic behind it and how he mixes so many different strings on his palette, which all result in a perfect representation of reality."
pix also by Devin Cecil-Wishing
Friday, June 24, 2011
I took the opportunity on this first official Summer Friday to interview a few workshop participants. I spoke with 3 students in the Drawing Intensive about their experiences in their first 3 weeks:
"I came here for the purpose of studying the method and I'm getting exactly what I wanted. This is one of the nicest academic places I've been to, everyone is super nice. The teachers are very good. They all speak the same language but with different accents-meaning they have different ways of seeing things but teach the same methods. So what I came here to learn, I've gotten and it will become more refined with more instruction. I'm very happy to be here."
-Daniel Gamelas from Portugal
"The workshop is really good. It's pretty much what I expected. I don't have much experience painting and I'm continuing with Cast Painting in July. I'm looking forward to relating it to drawing and how different it is. The teachers explain everything. I've learned about how light works, which I haven't received in training elsewhere."
-Nicky Van Son from the Netherlands
"The training is very structured and systematic. It's a scientific method that demystifies the technique in the art of drawing. The instructors tell you this comes first and this comes after. Anyone can learn it but you need to put in the time with the right teachers and that's what they have here." - Pablo Altieri, II from Puerto Rico/NYC
Graydon Parrish's three week Color Theory workshop for Intermediate to Advanced Students finished up today. We'll blog more about it next week but workshop participant Megan Moore came into the office and had this to share...
"There's an inherent isolation that comes with being an artist. That's all I know when I'm at home and to come here and spend every day with people, who share your vocabulary, who are trying to figure out similar issues, and who care about similar issues makes a giant difference. Humans don't tend to thrive in isolation and yet we've chosen an activity in which you need to have such solitude.
More posts to come about Graydon's and other workshops in the recent past. Here's a little info about 2012: Graydon's workshop will be held in July again. We aren't taking sign-ups just yet...
Tuesday, June 21, 2011
What I learned when I learned to draw.
by Adam Gopnik June 27, 2011
[Find a copy of the actual June 27th issue to read the entire 6 page article! A summary from the New Yorker website is printed below.]
ABSTRACT: PERSONAL HISTORY about how the writer learned to draw. When the writer was in the middle of the journey of his life, he decided to learn how to draw. He was at a midweek dinner party and he turned to his neighbor across the table. His name was Jacob Collins, and he explained to the writer that he supervised an “atelier” in midtown, called the Grand Central Academy of Art. The writer asked if he would teach him how to draw, and Collins said yes. The academy was in the same midtown building as the Mechanics Institute Library, and the atelier was a series of rooms that could have been found in Paris at the Académie in 1855. A cluster of students worked on their drawings. The writer held his pencil tight and began. He had a graduate degree in art history, and he liked to draw, though he did it badly. Jacob gave him a plaster cast of an eye and told him to try and copy it. The writer stabbed at the paper, and he was filled with feelings of helplessness and impotence. He bumped into Jacob later at their kids’ school and Jacob invited him over to his studio to watch him draw. It was an old renovated stable, and the writer liked it there. For the next year or so, he went often to the studio on Friday afternoons, and kept Jacob company as he drew. He would make a mark or two on his own easel as he watched him work. Over time, Jacob had assembled a group of teachers and enthusiasts, all given over to the practice of classical drawing from life and plaster casts, and from that nucleus came this studio and the Grand Central Academy. The best half-serious label Jacob could find for his approach was “traditional realist revivalism.” Jacob and the writer went to a show of Bronzino drawings at the Met. Over the years, the absence of true skill had unmanned the writer’s love for art. Later that week in the studio, there was a nude model named Nate. As the writer stared into the impossible landscape of ripples in Nate’s torso, Jacob said, “Look into his torso and find a new form, another shape to draw. Something outside your symbol set.” The way out was, homeopathically, the way back in: lose your schematic conventions by finding some surprising symbol or shape in the welter of shades, and draw that. After a few months, the writer produced some kind of recognizable rendering of the pattern of light in front of him. It was the best thing he’d ever drawn. He had made it up out of small, stale parts and constant reapplications of energy and observation. Drawing turned out to be like every other skill you acquire: skating, sauce-making, guitar playing. Describes sketching a female nude. The writer stepped away from the studio after the year. He still likes to draw, but the questions that he had come with were mostly answered, or at least quieted.
Saturday, June 18, 2011
oil on wood
Both of these portraits were completed in 4 hours.
oil on wood
Wednesday, June 15, 2011
Monday, June 13, 2011
Thursday, June 9, 2011
It has been very insightful to see so many professional sculptors from different schools of training sculpt the same figure.
It is exciting to witness such a variety of approaches to all the stages of sculpting a figure: from the armature, building up the main masses, gesture, all the way to the finish.
It is also inspiring to observe so many people tackle such a technically challenging and mentally exhausting process with such relentless zest, focus, emotion and exactness.
This attitude towards the direct observation of the human figure is indispensable. I really anticipate getting back to my studies with similar zeal and tackling the challenges of this wonderful art form.