[COMPLETED] Zhi Su’s 100 Day Challenge: Portrait and Figure

[ZHI SU]

My first post of Day 27 didn’t show up. Is it because there’s a link in it? It’s a link to the original Bernini.

https://artmuseum.princeton.edu/collections/objects/42655

[ZHI SU]

Thanks Philippe and Paul!

Day 27

I want to do a copy of a drawing by Bernini (original: https://artmuseum.princeton.edu/collections/objects/42655). Here’s the preliminary study:

After Bernini, graphite pencil on paper, May 2020

[ZHI SU]

Well, so now everything shows up. Sorry for the double posting then. Don’t see how I can delete it.

Day 28

Astrid, pencil on paper, 7 x 10 in, May 2020

[ZHI SU]

Day 29

Trace, watercolor on paper, 7.5 x 10 in, May 2020

[ZHI SU]

Day 30

The Bernini study is done. I had fun trying to create the illusion of old paper.

After Bernini, pastel pencil, 10.5 x 16.5 in, May 2020

[PaulDidier]

That’s very nice. I’ve always thought creating textures was fun.

[ZHI SU]

Day 31

Karma, conte pencil, 15 x 10 in, May 2020

[Joshua Jacobo]

Great to see that you’re still powering through this! I’m noticing significant improvement. On that last drawing try to make clearer decisions between light and shadow side and make the terminator (core shadow) more obvious.

[ZHI SU]

Thanks Joshua for the comments. They are very helpful. It’s always the value. 🙂

Day 32

Brie, pencil on paper, 7 x 10 in, May 2020

[ZHI SU]

Day 33

Brie, watercolor on paper, 7.5 x 10 in, May 2020

[ZHI SU]

Day 34

Working on an oil painting of model Gabrielle from Croquis Cafe. This is the preliminary study:

[ZHI SU]

Day 35

Watercolor on paper, 7.5 x 10 in, May 2020

[Joshua Jacobo]

Go go go!

I think what would help is for you to graphically divide the light and shadow families into clear shapes with no ambiguity. The darkest part is the separation between them, the core shadow or termination which can be sharp when the form turns sharply and wide and soft when the form is round and generous. Everything is either in the light side or the shadow. Give us more clarity as the viewer. Then do all the lovely value and color work into that.

For more in this see The courses by Steve Huston, Mark Westermoe, Chris Legaspi, and Charles Hu. Of course there isn’t just one way to handle lighting but in your case I think it will help. 👍🏼

• This reply was modified 4 years, 5 months ago by Joshua Jacobo.

[ZHI SU]

Thank you so much Joshua for the suggestions. I’ll try to incorporate it into my painting and keep taking those NMA courses.

Day 36

Busy day, lousy drawing on a piece of very textured paper.

Lily, charcoal on paper, 10.5 x 14in, May 2020

[Bryan Mccabe]

Nice work. I like how you use the texture of the paper to enhance the shadows more than the light areas. Good idea.

[Author]

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