Monday, August 31, 2009
Friday, August 28, 2009
Perspiration: facial features and expressions
. 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
Thursday, August 27, 2009
Inspiration: Fred Fixler

photo courtesy of Dave Darrow

Fred Fixler founded California Art Institute (CAI) in the early 1980's just north of LA in Calabasas. Prior to that he taught at nearby Brandes Art Institute. He studied with Frank Reilly from 1947-49 at the Art Students League, during this time he was roommates with James Bama. It seems that the bulk of his illustration career was spent doing sports illustrations, and movie poster work. It has also been rumored that he did uncredited "sleaze paperback" illustrations for Brandon House in the sixties. Fixler instructed a generation of Southern California artists, including Morgan Weistling, Greg Pro, Mark Westermoe, Shawn Zents, Glen Orbik and Laurel Blechman.
I will leave you with an anecdote from Morgan Weistling
"The secret to capturing the essence of what you are looking at can be found in your high school yearbook.
Fred Fixler would have us look at our high school yearbooks and find that page that has everyone in our grade standing together in one big group shot.
"Can you find yourself?" he would ask. Yes, we could.
"Can you find your friends?" Yeah.
What's the point? Well, in those photos
your head is almost the size of a pea - if not smaller! And yet, without seeing eyelashes, nostrils, pupils in the eyes, or any other details, you recognize people you haven't seen in years! Yet, most of us sit in front of a model drawing the most unimportant details and miss the simple overall shapes that form the essence of who we are observing.
Details are not the answer.
Thanks, Fred."
Here are a couple links to some interesting reading courtesy of Norm Nason
Fred Fixler: notes on drawing
Fred Fixler: notes on gouache
photos of life drawings courtesy Glenn Orbik & Laurel Blechman

Wednesday, August 26, 2009
Collectors: Gregg and Yvette Spatz
So hop on over to Sour Harvest and check it out
Materials: studio painting 2.5
Donato Giancola
Tuesday, August 25, 2009
Painting From Life
Monday, August 24, 2009
Drawings and Demos (Aug 09)
Sunday, August 23, 2009
For My Bro
Wednesday, August 19, 2009
Venture Bros Season 4 Trailer
Tuesday, August 18, 2009
Monday, August 17, 2009
Materials:studio painting part 2
Here is the process I follow to prepare a surface for a finished studio illustration.
Image 1:
The materials I use are Liquitex Basics Acrylique Gesso, a craft foam brush (I usually get these in a multipack at Michaels), double-sided hardboard (I get a 4ft x 8ft sheet and have them cut it into 4ft x 2ft strips, then cut it to whatever size I need on my tablesaw at home), Black & Decker Mouse electric sander, and an old hair dryer (optional)

Step 1:
Lightly sand the surface to remove any oils and imperfections on the surface.

Step 2: Mix your gesso with a little bit of water in a separate container to give it a creamier consistancy that is more conducive to smooth application
Step 3: Thoroughly clean the surface of any debris with a damp cloth

Step 4: Using your foam brush apply the diluted gesso evenly with smooth parallel strokes

Step 5: Apply perpendicular strokes to those you initially used to gain a smoother grain (you may need to use more gesso at this stage if you applied it very thinly on step 4) Do not press too hard with your brush strokes, lightly brush across the surface to gain a smooth surface.

Step 6:(optional)
I used to use a hair dryer to speed the process, now I use the drying time as a chance to take a break and get something else done.

Step 7: repeat steps 4-6
Step 8: Lightly sand the surface to your desired smoothness, and then clean surface of gesso shavings

Step 9: repeats steps 3-8 till you achieve your desired coverage and texture. I generally do this 2 more times so that I have a very smooth, bright white surface. Occasionaly I will skip the final sanding if I am going for a brushier look to a painting.
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