classical figure drawing and the contemporary realism of hedwardbrooks

Sculpture House Casting in Manhattan, Link, Great Prices and Selection of Casts for Drawing

2012-01-29T06:42:00.000-08:00

http://sculpturehousecasting.com/home/

Master Drawings in New York. A Great Sudy, Simply Line Structure across the Forms.

2012-01-27T14:51:00.000-08:00

http://www.masterdrawingsinnewyork.com/

Sir Thomas Lawrence, Portrait Study

2012-01-18T17:28:00.000-08:00

American Illustrator J.C. Leyendecker Techniques

2012-01-12T08:50:00.000-08:00

Great American Illustrators

The Living Social Open House Drawing Class at the New York Academy of Art

2012-01-05T08:38:00.000-08:00

The Living Social Open House Event at the New York Academy of Art was a Great Success, thanks to John Cichowski, Department Head of the CE Program. Over 800 people attended the week long event, 40% signed up for the Spring Semester.

Drawing & Painting, Steps & Techniques, Book Announcement

2011-11-27T13:25:00.000-08:00

Advanced Painting and Drawing Techniques.

Portrait of Amanda, oil on linen, Limited Palette.

2011-11-15T09:26:00.000-08:00

contemporary, classical, portrait, realism, limited palette.

Head Study, Limited Palette.

2011-11-12T07:10:00.000-08:00

Contemporary, Classical, Portrait, Realism

Cheryle's Back, graphite on Fabriano Uno.

2011-10-28T11:50:00.000-07:00

contemporary, classical, realism, figure drawing.

Military Marine Portrait, Limitd Palette.

2011-10-27T13:06:00.000-07:00

The Short Pose,Good Starts

2011-10-27T12:23:00.000-07:00

Classwork Fall 2011

2011-10-13T05:36:00.000-07:00

William Merritt Chase

2011-10-09T01:19:00.001-07:00

Nice Back Study, Jacopo Chimenti, Red Chalk on Paper. Morgan Library

2011-10-06T09:34:00.000-07:00

Notice the energetic unified line structure across the forms.

Nice Head Study, Woman artist circa 1890's

2011-10-02T13:32:00.000-07:00

Head Study, charcoal, white chalk on gray paper.

2011-09-25T08:52:00.000-07:00

contemporary classical realism, portrait study.

Head Study Block-in

2011-09-22T13:34:00.000-07:00

Classical contemporary realism.

Drawing Materials

2011-09-14T10:27:00.000-07:00

Papers; Strathmore Charcoal Drawing pad 64 lb.
             Bordem & Riley #410 Pastel & Charcoal Drawing Pad 80 lb.
   Sennelier Dessin Drawing Pad
             Fabriano Uno Watercolor paper, double thickness.
   Stonehenge Print-making paper.
   Hahnemuele Pastel, Charcoal Paper, deep green.

Pencils; Derwent Graphic, HB thru 8B
General's Charcoal pencils extra soft
              Stablio CarbOthello White

Erasers; Kneaded Eraser, Pink Pearl Soft Pencil Eraser

Stump; Large size made in Taiwan.

Large Chamois

Koh-I-Noor Pencil Holders, extenders

Classic Back Study.

2011-09-13T13:11:00.000-07:00

Charcoal, white chalk on Hahnemule Deep Green Paper.

Constructive, proportional, volumetric block-ins

2011-09-13T13:07:00.000-07:00

Build from the ground up, see the big simple shapes first, the volumetric forms and build on that. classical figure drawing.

2011-09-09T11:05:00.001-07:00

The Paintings and Drawings of H.Edward Brooks by Hedwardbrooks | Make Your Own Book

Cast Drawing, the Constructive Approach.

2011-09-01T10:53:00.000-07:00

Classical contemporary realism..

John Sargent's Procedure

2011-08-30T10:32:00.000-07:00

I posted this on my painting blog and the response was overwhelming and thought it would be relevant here. The same ideas apply to drawing.

Secondary Phase of Initial Block-in. Graphite on Print Making Paper.

2011-08-20T10:46:00.000-07:00

Contemporary, Classical Realism, Portrait Drawing.

Summer Class Work

2011-07-21T09:39:00.000-07:00

Short Pose Studies.

The Five Minute Pose

2011-07-15T04:05:00.000-07:00

Classwork, Summer

Back Study, General Charcoal Pencils & white chalk on Borden&Riley Grey Paper

2011-07-07T10:04:00.000-07:00

Structural Studies of the Back. Classical Contemporary Figurative Realism

Head study 21

2011-06-25T11:13:00.000-07:00

Classical Realism Portrait Study, Charcoal, White Chalk on Grey Paper.

Portrait Study

2011-06-16T18:31:00.000-07:00

The Books by Andrew Loomis, Classic Illustrator

2011-06-10T09:59:00.000-07:00

Link @ http://www.mediafire.com/?pk7r76vl2d13gwf

Skull Proportional Studies, oil on canvas

2011-06-04T10:18:00.000-07:00

Classical contemporary realism, figurative studies.

Classical Drapery Studies

2011-05-15T15:55:00.000-07:00

After many requests, Drapery studies will be added to the figure drawing class.

Back Study, graphite on paper.

2011-04-23T09:19:00.000-07:00

Contemporary Classical Realism, Figure Drawing.

Head Study, Amanda

2011-04-08T10:40:00.000-07:00

Graphite on Paper

Duo-tones, Four views, same lighting ala Costa

2011-02-14T18:35:00.000-08:00

Short Poses, Charcoal on Toned Paper.

2011-01-27T11:11:00.000-08:00

Figurative Drawing, Classical Realism.

Back Study with Drapery

2011-01-21T14:37:00.000-08:00

Classical Figurative Realism, Graphite on Fabriano.

Connie's Back 1, Graphite on Fabriano.

2010-12-24T12:14:00.000-08:00

Graphite on paper, classical figure drawing, contemporary realism.

Portrait Study, secondary phase.

2010-12-09T20:26:00.000-08:00

Drawing, classical contemporary realism.

Cheryle's Back, drawing from life.

2010-09-13T14:32:00.000-07:00

Graphite on Fabriano Uno, 18 x 24.

Short Pose, charcoal on newsprint.

2010-06-07T15:27:00.000-07:00

Energized short pose, model, Gabriela

Portrait of Gabriela, classical realism.

2010-03-28T11:22:00.000-07:00

Portrait of Gabriela, oil on linen, three color method on a red oxide toned ground. Gabriela was a favorite model at the New York Academy of Art.

Head study, charcoal on gray paper with white chalk.

2010-02-03T17:47:00.000-08:00

Drapery study with figure, classical contemporary figure drawing.

2010-01-02T11:01:00.000-08:00

Drapery study with Figure, contemporary classical figure drawing, graphite on paper.

Traditional cast drawing and drapery study, classical figure drawing.

2009-12-31T14:18:00.000-08:00

Traditional cast drawing and drapery study are an in-valuable method of study. It provides a tremendous opportunity to develop ones observational skills and, drawing and rendering techniques. By taking an unusual and exciting approach to this subject matter, the process becomes much more rewarding and enlightening, not just a labor intensive exercise in measurements. Try dramatic lighting techniques and approach your drawing in a constructive manner, think, how was this made, constructed, not how will I ever finish this. It is much more fun and keeps you totally engaged instead of fearing the lengthy process of surface rendering. Always think of the whole and not the polish.

Head studies, grisaille studies on canvas, classical figurative drawing, realism.

2009-12-20T04:06:00.000-08:00

Grisaille studies, oil on canvas, contemporary realism, classical figure drawing.
These studies are of Gabriela, a favorite model at the New York Academy of Art, she's currently in Barcelona. The technique is a rather simple one. Burnt Sienna on a neutral gray ground. I scummble the paint on the canvas straight from the tube, no turps or linseed oil. Keep the paint layer thin by removing excess with a brush or paper towel, I use my finger. Similar to a rub-out technique. Use your turps to make drawing adjustments, use as little as possible so as not to compromise the surface of the canvas ground. After the initial set-up, I let the paint set-up. I'll come back to it later and enhance the darks.

Head study drawing tutorial, the Basic Block-in, classical figure drawing, contemporary realism.

2009-10-27T04:12:00.000-07:00

Head study from life, a tutorial in classical realism techniques.

The most important part of a drawing is the start not the finish. This tutorial will focus on the start of a drawing, the basic block-in.

When I draw from life, I don’t just jump-in and draw. I always walk around the model to get a better understanding of the model and plan out my composition. When I do a head study, I’m not trying to capture a “likeness,” but rather I want to construct a solid head, focusing on the volumetric forms. By constructing the underlying forms first, I will realize a credible likeness in the end.

1. I want to establish the over-all volume of the head. I mark the top of skull, not the hair, then locate the line of the chin, Mark the back of the skull and two lines for the angles of the front of the skull. I’m looking for the bone structure of the skull not the features of the face, that will come later. I want the initial lines to accurately depict the volume of the head. I then cut down the shape to more resemble the head. I score the head into thirds, from the top of the head to the top of the eye socket; from the top of the eye socket to the base of the nose; from the base of the nose to the bottom of the chin. Locate the position of the eye and the middle of the ear. Add the structure of the nose and lips.

2. Now I can start to refine the structures. Make use of the shadow shapes to define the structure of the eye socket, find the over-all structure not the eye lashes. I find the shadow down the side of the head, down the forehead, pass the zygomatic bone, down the cheek to the jaw. I find the shape and structure of the hair. All the while keeping the drawing simple.

3. Now comes the fun stuff. I quickly mass-in all the shadow shapes together, including the hair. These shadow shapes define the light structures of the head. Already I have a credible solid head with simple well defined shapes.

4. Initially I have found the differences between the light and shadow. Now I can start to develop the values with-in the shadow shapes. I will discuss value systems for drawing in the next tutorial.

When drawing from life, you will progress more by drawing more starts until they become second nature.

Head study 3, portrait drawing

2009-10-18T03:01:00.000-07:00

Head study, portrait drawing, charcoal and white chalk on green paper.

"Connie," Portrait drawing series, contemporary realism.

2009-09-16T16:56:00.000-07:00

Connie, graphite drawing on Fabriano Uno.

Drawings,"Profiles in Black and White," the technique, classical and contemporary realism.

2009-09-15T05:51:00.000-07:00

"Profiles in Black and White" is an on-going series observing various forms in profile. The techniques used in the production of these drawings ranges from the traditional handling of your pencil, classical realism, to a more contemporary glazing technique with powdered graphite to enhance your darks. I use an architectural pencil, lead holder, so that I can keep a point continually. I normally use a range from HB to 9B. I rarely use the H's as their color is less rich and has a shiny appearance. I am using Stonehenge's print making paper. It doesn't have the sizing of a watercolor paper and really soaks up the graphite.
Start your drawing by lightly blocking in your subject, then start massing in the major forms. Let the light and shadow shapes guide you. Work the whole drawing, don't linger in one area. Bring the whole drawing up slowly, much like a photo developing in a darkroom tray.
Once your drawing is well along, it's time to develop the darks in the background, so you can compare your range of values in the whole drawing. I normally create a value strip using the same paper as the drawing. I use this as a guide to compare my lights, mid-tones and darks.
At this stage, patience is the key. Work your pencil and powdered graphite very lightly, caress the paper. You get your darks by building up multiple layers of graphite, maybe as many as 20 layers. I grind my own graphite using a mechanical pencil sharpener, using 6B, 8B, 9B leads. The bottled graphite is not as rich. Find a soft cotton cloth to use when applying the powder. Use a buffing technique, much like hand buff -waxing your car. After the third layer, I apply a light workable fixative.
Let your drawing rest for a couple of days. The paper will rise(expand) again, much like foccacio bread dough. You can then apply more layers of graphite. Fix about every third layer in the dark areas. Continue the drawing until you are satisfied with the range of lights and darks. At this point I put the drawing away for a week or so and work on another piece. I need to refresh my eyes for that drawing. When I look at the drawing again I set it across the room towards dusk. If the drawing holds the room, my work is done. Hope this post is helpful. Good Luck.

Drawings, "Profiles in Black and White," Equine Portraits, contemporary realism.

2009-09-12T13:35:00.000-07:00

Dirty Blonde, graphite on paper, contemporary realism.