Alanna Grisaille Study

Alanna | Process | Week 4​ | 11 x 14" oil on canvas panel - 2012

Here's the progression for a four week grisaille study of Alanna.  

​As with the above grisaille study, the drawing was done directly on oil primed linen panel.  The imprimatura (Raw Umber & Walnut Oil) was applied previous to class.  

Then the piambura was painted in week 2 with radiant white, and towards the end of the class, a little raw umber to clean up the drawing and some of the values.

Much thanks to Richard Morris for the instruction.​

Alanna | Process | Weeks 1 - 3​

Alanna | Process | Weeks 1 - 3​

Welcome

Welcome to my new website.  I'm still in the process of migrating work from my old site to this new one.  I hope to have everything updated in the next couple weeks.  Check back.  Thanks.​

Getting Started - The "Why" and the "What"

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I've become increasingly interested in Neoclassicism and Romanticism, and the academic drawing and painting produced within these movements.  So I've set out to learn more about nineteenth-century art education and studio practice influenced by the European academies of art. This led me to the Charles Bargue and Jean-Leon Gérôme DRAWING COURSE.

I plan to do some plates as time permits.  I'll post my drawings as I complete them.  My goal is to finish Part 1, the casts, then see if I want to do Part 2.  This may also be a sort of journal on process.  We'll see.

Getting Started - Preparing the Plates

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The original Bargue-Gérôme plates were 18 x 24 inches in size, much larger than their reproductions in the book.  In order to do the studies, I had to scan the plates in the book and print them larger.  This concerned me a little, since anytime you scan a printed image and reprint it (especially using consumer grade scanners and printers) you're going to degrade the image.

I scanned the plates hi-res (300dpi), played with brightness/contrast in photoshop, scaled them, and printed them on tabloid laser printer paper.  After a few test prints and adjusting my photoshop levels, I was satisfied and ready to move on.  For time considerations and efficiency, I decided to do my drawings at a smaller size than the originals - 11 x 14 inches.

The prints aren't perfect, but they held up better than expected.  One issue, for example; the half-tone subtleties are difficult to see.  I know other artists doing this course have gone to great lengths to print the plates more accurately, so as to reproduce these subtleties.  Personally, I don't feel that's the best use of my time.  That's why having the book is key.  I'll refer to the prints in the book when getting into the detail work.  I'll let you know if I have a change of heart regarding this decision.

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Getting Started - Plate Layout

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I use a large sheet of masonite as my drawing surface, which has been cut to fit my easel.  The layout of the plate and drawing are as pictured, side by side and held in place with drawing tape. ​

Most plates, especially the early ones, have guide lines drawn through the study.  Plate 1 for example, has one vertical and horizontal line drawn for each eye.  I started by reproducing these guides lightly on my drawing paper in approximately the same place as on the plate.  (They're more visible once you click on the image.)​

Once the plate was in place, I stood about 3 feet in front of my easel where I could get an undistorted view of both the plate and my drawing paper.  I put a piece of gaffers tape on the floor to mark where I was standing.  This is where I will take all my sight-size measurements.