Portrait Drawing on Toned Paper
One-Day Workshop with Karen Winslow
Sunday 7/28/24
10am - 4pm
Price includes model fee.
Drawing a head from life is challenging, but there are strategies that can help: First, we will be applying ideas from several standard schematics, noting anatomical landmarks, angles, and comparative measurements to help simplify and understand the structure of the head.
Second, I always pose the model, plastic skull, and planes head in the same light, to aid in comprehending form, looking for planes of light. Third, we will, also, look at master drawings to understand how other artists translated similar poses. Finally, by squinting and sketching loosely and lightly in mass, seeing the 2 main tones of light and dark first ( rather than starting with a hard, tight outline), we can develop our drawing from general to more specific features, modifying, modeling, and getting a little more exact with each pass to create a, believable illusion of light, form, and depth. Remember, draw eye sockets before eyelashes (form & light first; derails second).
In this class we will use vine and compressed charcoal, sanguine conté crayon, pastel pencils, graphite, and white chalk on gray or tan paper. Additional supplies could include: white gouache, white gel or Pitt pen, and fountain pen. You will also need a kneaded eraser, and blending tools, such as: stumps, stiff and soft brushes, q-tps, or make-up sponges. A skewer (or knitting needle), plumb bob (string with a heavy bead or fishing weigh on the end), and a viewfinder are helpful, too.
One-Day Workshop with Karen Winslow
Sunday 7/28/24
10am - 4pm
Price includes model fee.
Drawing a head from life is challenging, but there are strategies that can help: First, we will be applying ideas from several standard schematics, noting anatomical landmarks, angles, and comparative measurements to help simplify and understand the structure of the head.
Second, I always pose the model, plastic skull, and planes head in the same light, to aid in comprehending form, looking for planes of light. Third, we will, also, look at master drawings to understand how other artists translated similar poses. Finally, by squinting and sketching loosely and lightly in mass, seeing the 2 main tones of light and dark first ( rather than starting with a hard, tight outline), we can develop our drawing from general to more specific features, modifying, modeling, and getting a little more exact with each pass to create a, believable illusion of light, form, and depth. Remember, draw eye sockets before eyelashes (form & light first; derails second).
In this class we will use vine and compressed charcoal, sanguine conté crayon, pastel pencils, graphite, and white chalk on gray or tan paper. Additional supplies could include: white gouache, white gel or Pitt pen, and fountain pen. You will also need a kneaded eraser, and blending tools, such as: stumps, stiff and soft brushes, q-tps, or make-up sponges. A skewer (or knitting needle), plumb bob (string with a heavy bead or fishing weigh on the end), and a viewfinder are helpful, too.
One-Day Workshop with Karen Winslow
Sunday 7/28/24
10am - 4pm
Price includes model fee.
Drawing a head from life is challenging, but there are strategies that can help: First, we will be applying ideas from several standard schematics, noting anatomical landmarks, angles, and comparative measurements to help simplify and understand the structure of the head.
Second, I always pose the model, plastic skull, and planes head in the same light, to aid in comprehending form, looking for planes of light. Third, we will, also, look at master drawings to understand how other artists translated similar poses. Finally, by squinting and sketching loosely and lightly in mass, seeing the 2 main tones of light and dark first ( rather than starting with a hard, tight outline), we can develop our drawing from general to more specific features, modifying, modeling, and getting a little more exact with each pass to create a, believable illusion of light, form, and depth. Remember, draw eye sockets before eyelashes (form & light first; derails second).
In this class we will use vine and compressed charcoal, sanguine conté crayon, pastel pencils, graphite, and white chalk on gray or tan paper. Additional supplies could include: white gouache, white gel or Pitt pen, and fountain pen. You will also need a kneaded eraser, and blending tools, such as: stumps, stiff and soft brushes, q-tps, or make-up sponges. A skewer (or knitting needle), plumb bob (string with a heavy bead or fishing weigh on the end), and a viewfinder are helpful, too.