[gil_mello]

This is a bold, very complex and matured drawing demonstration, Thank you, Iliya Mirochnik.

 

[gil_mello]

I am approaching the end of this lesson 9, and very much impressed by the artist’s skill, his charcoal drawing is very fine indeed. I just think that this lesson was much too long for the viewers (probably for the artist and model, too), I had to rush the video slide many times forward to cut down on tedious molecular steps in the process. All in all, I think this is useful for a beginner who is not at all used to charcoal drawing. I did not see the artist using any materials other than charcoal and kneading eraser during the drawing, I think he could make use of a small sponge to smooth out light areas in the figure while adjusting middle values and light transitions around the form, just a thought.

[gil_mello]

I am now on section 12, which is right on the middle of this lesson 9…I think it is taking way too long, I would hope to have at least all the body shades finalized by now. I give credits to both the teacher and the model for standing their lesson strength so far, but still think this could be done in much shorter lesson span.

G. Mello

[gil_mello]

This is my first look at Mr. Hu’s oil paint teaching here. I do not know other work taught by him.

My first impression was that he made the common mistake of starting this still life scene on a stark white canvas. It took him around 2 hours (and me too) struggling to “see” proper color tones and value against the white of the background. Once he decided to cover the back with a more neutral greenish tone, things started to move along…but he had to struggle again now to fix what he wasn’t able to see well before, so two hours were lost with guess work, plus more to correct colors that were not chosen correctly in the first place.

I hope to continue with his class next on figure painting, where I presume he is more comfortable to deal with.

 

G. Mello

[gil_mello]

Iliya is amazing, he should be a physician! he knows so much anatomy that it is really inspiring to me, while I try to get encouraged to do my own figure drawing. Keep up the good work young man!

[gil_mello]

Many thanks to Iliya Mirochnik for bringing his talent and knowledge to everyone. I am enjoying every bit of his instructional videos, they are tedious for sure but if we want to master what he did in his long-time training in Saint Petersburg’s Repin Institute we’d better be willing to “sustain the pain”…just joking of course, since what we learn here is a far cry from his own personal dedication as a student.

G. Mello

[gil_mello]

(5/6/19) It has been a problem with all 3D visualization with this part of the instruction, as well as the others involving the human skull and skeleton. A password is shown (JvkTjNq8) bit it does not work to open the 3D display.

G. Mello

[gil_mello]

sorry, password is JvkTjNq8, just a small error I typed below…still, it does not work.

[gil_mello]

(5/6/19) I am having similar issue with the 3D model, I cannot open it even with the password (JvkTjM98) that is shown in the top.

G. Mello

[gil_mello]

My final comment on J. Aristides “Executing an Oil Painting”: the artist is well known and her work is superb, she worked it as she mentioned somewhere in the video, as an unfinished/sketched painting. My suggestions to NMA team is to assure that any artist introduce the work they are going to perform in the fist segment of the videos, so we, the students, do not stay guessing what they intend to do or trying to understand why the artist had the choice of a palette, the materials and canvas they use, etc… Another criticism to the videos presented is that the artist had a slightly different view of the model (I assume it was a live model) than the view we had (all the time it was a still photograph of the model showing on the right side), and this was not okay because it mislead the viewers. I think a better approach would be to have the picture taken from the artist’s seat before the session stars.

[gil_mello]

Now starting Part 8, I see the instructor using a “full color” palette, but no explanation on what made her choose the colors. It would not be a complete issue if this demonstration was made solely for advanced purpose, however the beginning or intermediate audience may find it difficult to understand. Please consider a revision of this painting instruction in the future to include more technical description of materials and techniques!

[gil_mello]

My comment now is about the beginning…it just started with the sketch using the brush over the imprimatura… the artist mentions a “poster study”, but for a beginner this is not a given, the instructor should spend few minutes explaining the technique, materials and choice of palette prior to starting. Also, is this expected to be Alla Prima approach from start to finish? or the artist intend to let the first layer dry and then apply paint layers (i.e., glazing) after? I am an admirer of Juliette Aristides, I love her art and technique as well as her writing… as a suggestion, perhaps she should be allowed back in this instruction venue with a more didactic approach to painting in oil.

[gil_mello]

This is a good lesson, too bad we can’t see the model he is drawing from, plus the sound is not very clear either.

G. Mello

[gil_mello]

Right, I do not see the model either…I guess we need to request the insertion into the lessons, right?

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