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  • in reply to: Contemporary Realism in Oils Part 2: The Portrait #2772798
    Daniel DaigleDaniel Daigle
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    Hi Anthony, I reached out to our education coordinators and they believe this was cut out for time. They go on to say this “I would assume he is slowly adding it into his painting mixture as he gets further along in the painting process. Following the Fat over lean method. the beginning stages use more solvent  (lean) and as the painting progresses you start to add in more medium (fat) to your mixtures where needed.”

    in reply to: Drawing Exercises #2772408
    Daniel DaigleDaniel Daigle
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    hi melting kettle, the traditional way to draw is on a drawing horse with a drawing board on your lap and propped up against the end of the horse. In this position you elbow is bent to nearly a 90 degree angle, and you slouch forward so that your eye site is perpendicular to the surface of the drawing pad.
    The benefit to drawing on an easel is that you dont have to bend your back or neck to have a perpendicular viewing angle.
    and you can be as close or as far away as you want.
    drawing from the should is a good idea because its is mechanically easier to control the pencil.
    If you are at a desk and if it is possible to angle you sketchbook so that it is more vertical, this would be ideal, so that you dont develop back or neck issues over time.
    and i think its better to have your elbow at least at 90 degrees, I have developed ulnar nerve damage due to it being bent less than 90 degrees for long periods of time. you will notice this if your pinky and ring finger start going numb.
    So this is all about developing safe practices and hobbits so that you dont injure yourself over time
    it may be possible for you do build an easel or drafting table top for little money. you can clamp your sketchbook or paper to these
    I hope this helps, and good luck!

    in reply to: Understanding and Using Value #2772396
    Daniel DaigleDaniel Daigle
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    Hi HB, please see the lesson details. He is using both Conte and Charcoal pencils. the brand doesn’t matter
    The Black Pencil is Conte and the Orange Pencil is Charcoal

    in reply to: Drawing Exercises #2762833
    Daniel DaigleDaniel Daigle
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    Hi Mai, the Steadtler is graphite right? this is almost the polar opposite of conte. Conte is like a chalk and wax mix. similar to charcoal but maybe closer to pitt pastel. my experience in working with conte is somewhere in between these two.
    I hope this helps

    in reply to: Comparative Measuring in Perspective #2759602
    Daniel DaigleDaniel Daigle
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    Hi Karina, can you elaborate on what part you are confused about?

    My understanding is that Eric picks an arbitrary position to place the near-corner of the barn, then he decides that the barn should be two stories tall, the same as the house. So in order to do this, he draws a line from the bottom of the house to the near-corner of the barn to the eye line. this sets up a reference point for the roof. remember, anything that spans between that reference line, that he just drew, and the eye line will be 4 ft.  he then draws a line from the top of the second story to the reference point to get the height of the barn (18 ft above the eye line) . where the vertical from the bottom near-corner meets the the second reference line. its the same logic he used for drawing the first person with reference point 1. except he is using the far side of the house for taking the measurement. this works because objects scale as the move back in space in between the vanishing lines.

    Does this make sense?

    in reply to: Jac’s 100 days of skies and trees #2759589
    Daniel DaigleDaniel Daigle
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    nice work Jac

     

    in reply to: Developing a Preparatory Figure Drawing in Sight-Size #2759220
    Daniel DaigleDaniel Daigle
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    I highly recommend it. you could probably convince a family member to just sit, or stand for a while so you can try it out. I found that drawing from a live model was surprisingly exhausting at first. Because, as you mentioned, your stereoscopic vision provides a lot more information, especially about form. So your brain has to work harder to convert this into 2D. its incredibly useful, but takes some patience and practice. at-least, it did for me.

    Good luck on your artistic Journey!

    in reply to: Developing a Preparatory Figure Drawing in Sight-Size #2755324
    Daniel DaigleDaniel Daigle
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    Hi Tote, let me try to answer
    No, The distance is not arbitrary, from the model or the canvas. The artist steps into a position where they can fully see both the canvas and the model at the same size and time. If you are right next to your canvas, the canvas will be occupying your cone of vision, and you will need to move closer to the model, so that the model is also larger within your cone of vision, so that it matches the size on your canvas. You can turn your head to see the model, but you wont see both simultaneously. Now you may choose to work smaller, which would make this a possibility. An interesting test would be to place two objects of differing height at different distances such that they look the same height from your vantage point, now move closer and farther away. you will see that the distance is not arbitrary. this phenomenon is called the inverse square law. meaning, apparent size relationship between two objects vs distance is not linear and they don’t scale together equally as your distance changes.

    Stereoscopic vision means you can calculate depth based on trig, the angle of how cross eyed you become. perspective distortion is something that happens with all curved lenses including your eye. Now it’s true that having two eyes helps combat this to some extent, but for any object wider than the space between your eyes, you will see noticeable change as you move farther or closer. You can test this. set an empty box on its side at eye level so that you can see into it. notice the projected distance between the back corners and the front corners (perspective depth in 1pt), now take 10 steps back. the distance between corners will lessen. the box appears more shallow. now imagine a head inside this box and imagine how it too would distort. the fact that we study perspective at all is proof that stereoscopic vision does not nullify perspective distortion.
    The same rules apply to portrait photography. If you are close to the subject, you may use a 45mm lens and notice that their nose looks pulled forward and their ears appear to be hiding behind the side of their head. now if the photographer or subject moves back 20 ft or so, and uses a 200mm lens you will see the nose is less stretched forward and the ears are easier to see, some people call this compression. Its important to note that the the lens only zooms, it has nothing to do with perspective distortion. its the distance that changes perspective distortion.
    i will attach two images. the first shows how distance changes the tangent point of your cone of vision. one thing to note, in this diagram, the cone of vision is wider at close proximity to simulate a wide lens field of view. if you hold the angle constant, you can see that the effect is more pronounced.
    the second image is of portraits at different distances. you can see how the face changes shape

    I hope this helps, and that i did not confuse you

    in reply to: Russian Drawing Course Part 1: Materials & Set-Up #2749155
    Daniel DaigleDaniel Daigle
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    yes you can reuse them until the sides become too perforated to hold staples. you can buy a dedicated staple remover, our use something to pry them out, which may risk damaging the sides unnecessarily. you could also use a sheet of ply wood. preferably one that is treated so that it doesn’t warp due to moisture. Im sure there are many other solutions. you just have to be creative. but the panel board is light, strong and has a smooth surface. so its the much easier option.
    or, just draw on unmounted paper if none of the above work. stretching the paper has its benefits, but it shouldnt prevent you from moving forward with the class IMO

    Daniel DaigleDaniel Daigle
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    The video should be playing now

    Daniel DaigleDaniel Daigle
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    Hi Robert, please reach out to “info@nma.art” for technical assistance. I would also suggest clearing your cache, using incognito mode and/or a different browser. please also include a screen shot, url and any other relevant information.

    in reply to: Drawing Exercises #2710852
    Daniel DaigleDaniel Daigle
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    Hi Sara, this could be due to several factors. 1) slow down and take your time, unless you have a belt sander, sanding your pencil tips takes time. If you press to hard it will break 2) some softer mediums (conte and charcoal) just wont sand. they are too soft and crumble. try using a harder medium 3) sometimes pencils are duds, maybe it was dropped, maybe the core is a bad mix, try another from a different set and see if it works better.
    I hope this helps

    in reply to: Developing a Preparatory Figure Drawing in Sight-Size #2698820
    Daniel DaigleDaniel Daigle
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    Hi James and Totte, This is a standard practice with the sight size method. The reason they step back is:
    1) to see both the canvas and the model at the same size simultaneously. this 1:1 ratio is also important when squinting to remove details and to look at only the values and colors. its easier to compare when they are the same size. Same goes for proportions and placement
    2) reduce perspective distortion from both the model and canvas
    3) allow free movement: to measure the model without the canvas obstructing their view or measuring arm
    4) to freshen the eyes. remember the phrase, take a step back and look at the bigger picture. We take a step back to view the harmony and proportions without getting lost in the details
    5) to get some cardio 😛

    in reply to: Rendering Techniques #2689200
    Daniel DaigleDaniel Daigle
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    Hi Ethel, after looking at the Assignment PDF and The Materials List, it appears as though you have the option to use any of the listed mediums. Im not so sure specific materials are so important for this lesson as the nuanced differences may not become apparent for this use case. With that said, I have forwarded your concerns to the education coordinators, so that they may better assess.

    in reply to: Introduction to Perspective #2679725
    Daniel DaigleDaniel Daigle
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    Hey Megan, I asked Peter, the live stream mod for this class, and this was his response:
    “The station point is discussed continually throughout the course. The SP is the distance from your eye to the picture plane of the scene you are drawing, swung down in flat space. Establishing an SP in flat space is useful because it enables you to measure real angles from the SP that determines your cone of vision, measuring points and vanishing points, which all relate back to the perspective view you are drawing. It’s normal for this to feel confusing early on, but Erik is big on reiterating and reinforcing these concepts through discussion and practical demonstration. I think if you stick with this and follow along with the diagrams as well as integrating the concepts into your own practice, it will begin to make a lot more sense.”

Viewing 15 posts - 16 through 30 (of 375 total)