No Hurdle Too High
- Thread starter Balaji
- Start date
txomsy
Apprentice of amateur
- Messages
- 208
Still, it is the first step to internalize the basic elements. And to build a "database" or "toolchest" of gestures/actions that you may later resort to in live scenes.
Personally, I ultra quick blots because that allows me to concentrate on the most basic elements and get them in seconds. I don't care about precision or else in these, just try to get the feeling. I find this allows me to get faster that "gesture" so I may use it later as reference (directly or from memory). Kinda like these
or
The beauty of these is one may just use similar figures verbatim as part of other compositions to imply actual figures, and the brain will operate the magic. I went to Paris last month and visited the Musée d'Orsay with the idea of paying special attention to the impressionists. It was so overcrowded that it was at times uncomfortable (had planned a full day but I left early in the end, couldn't stand it). Similar at the Orangerie (specially with influencers getting in the way for hours on spot to make their vanity report and spoil everyone else's experience). But, nevertheless, when you look at famous works closely it is surprising how many major works of art only use rough blots of color to imply elements, people, waves, clouds... and when looked from a (not much) distance seem highly detailed!
This is a nice example, from a sketch by Riesener (Allégorie du 2 décembre 1852) at the Petit Palais in Paris (oil on canvas):
I think the following is also a nice example, from a sketch by Delacroix (La Paix viens consoler les hommes et ramène l'abondance) in the Petit Palais (oil on wood): while seen as a work looks impressive, when seen in detail it is deceptively simple.
So, you see, you are already getting on pair with Delacroix. At least on sketching grounds.
NOTE: the paltry sketchbook pages are mine. The copyright of the original painting sketches by Delacroix or Riesener should have expired long ago, and the pictures I took myself from the original, so I believe no Copyright infringement is incurred.
Personally, I ultra quick blots because that allows me to concentrate on the most basic elements and get them in seconds. I don't care about precision or else in these, just try to get the feeling. I find this allows me to get faster that "gesture" so I may use it later as reference (directly or from memory). Kinda like these
or
The beauty of these is one may just use similar figures verbatim as part of other compositions to imply actual figures, and the brain will operate the magic. I went to Paris last month and visited the Musée d'Orsay with the idea of paying special attention to the impressionists. It was so overcrowded that it was at times uncomfortable (had planned a full day but I left early in the end, couldn't stand it). Similar at the Orangerie (specially with influencers getting in the way for hours on spot to make their vanity report and spoil everyone else's experience). But, nevertheless, when you look at famous works closely it is surprising how many major works of art only use rough blots of color to imply elements, people, waves, clouds... and when looked from a (not much) distance seem highly detailed!
This is a nice example, from a sketch by Riesener (Allégorie du 2 décembre 1852) at the Petit Palais in Paris (oil on canvas):
I think the following is also a nice example, from a sketch by Delacroix (La Paix viens consoler les hommes et ramène l'abondance) in the Petit Palais (oil on wood): while seen as a work looks impressive, when seen in detail it is deceptively simple.
So, you see, you are already getting on pair with Delacroix. At least on sketching grounds.
NOTE: the paltry sketchbook pages are mine. The copyright of the original painting sketches by Delacroix or Riesener should have expired long ago, and the pictures I took myself from the original, so I believe no Copyright infringement is incurred.
