Perspiration: Composition

Hey all,

Another area of study that I feel is often neglected is composition. Granted it is a difficult thing to nail down because there is a fair amount of opinion and personal preference involved. One of the ways I like to study composition is a master study or ten. The thing to remember about master studies (especially in regards to composition) is that they do not have to be detailed, rendered, longterm exercises. Sometimes you can get more out of simple three values studies in your sketchbook. In essence you are reverse engineering thumbnail sketches.

I have been interested recently in trying to figure out the graphic appeal of James Bama's work, in particular his series of Doc Savage covers.

Books on composition

Composition of Outdoor Painting

Pictorial Composition (Composition in Art)

Picture This: How Pictures Work

There are others, but these are a great starting point. Plus they are all available and affordable.

Tags: composition, illustration, James Bama

Perspiration: facial features and expressions

Another area of artistic study that is often neglected are facial features and expressions. A great resource for the study of the human figure in general, but specifically the features of the face is The Human Figure
. For expressions I would go to The Artist's Complete Guide to Facial Expression





















Also here are some tutorials by my good friend Stan Prokopenko
Ears
Lips
Nose
Eyes

Perspiration: Anatomy

One of the most recommended books on anatomy is Bridgman's Complete Guide to Drawing from Life . While admittedly a great book, it can be a bit hard to follow. From Bridgman's chaotic, yet beautiful linear drawings, (made all the more difficult to follow by poor reproduction) to the somewhat erratic presentation of the text (due to the book being little more than a cobbling together of notes from his students) it can be very intimidating to the novice artist. The way I was taught to study Bridgman by Jeff Watts was a three tier process.

First: Read and understand the text as best you can (I like to have Human Anatomy for Artists: The Elements of Form close at hand to shed light on anything that is not clear)



Second: Translate and copy Bridgman's drawings into a tonal representation (this forces you to understand what you are drawing rather than just copy his marks)



Third: Find photo reference similar to Bridgmans drawings, and draw from them while trying to identify the shapes you learned from Bridgman. (I was taught to use female bodybuilders, or natural atheletes. So the muscles are clearly defined, without being overblown light steroid enhanced men)

Perspiration: Perspective

To my mind linear perspective is one of the illustrators great tools and greatest impediments. The illustrator who does not understand perspective is limited by what he does not know, and the illustrator who adheres to tightly is limited to what he does.

"If you intend to make a living at drawing, by all means learn it [the rules of perspective] now, and do not have them bothering you and your work for the rest of your life."
Andrew Loomis





Good sources to reference for perspective.
Creative Perspective for Artists and Illustrators by Ernest W. Watson
How to Draw Comics the Marvel Way by John Buscema
Perspective for Artists by Rex Vicat Cole
Marshall Vandruff's Perspective series of videos

Perspiration: Master Studies

There are many exercises that will help you to improve your skills as an artist. One of the oldest and most time honored is Master Studies. I used to do these very regularly, of course as my knowledge of art has increased so has my desire to do original images. Many of these where very helpful, but reflect the limits to my tastes and education at that phase in my development.

In doing master studies I encourage my students not to just ask themselves what decisions an artist made, but what went into the decisions? What was the artist's goal, and how did they go about meeting it? If you cannot understand why you feel a certain way about a piece of art, and comprehend how an artist draws out that feeling, how can you hope to create a piece of true emotion.

"In suggesting the works of masters, I do not mean that pictures like their pictures should be made, or that motives like their motives should be repeated. But I point rather to the principles of developed judgment, power of essay, power of intense feeling, intense respect.
Rembrandt's beggars are wonders of life. He did not pass them on to us saying simply, 'They are vulgar fellows.'"

Robert Henri