Shirley’s work and study life in LFAS – Foundation Course, 4-6 Weeks

London Fine Art Studios, Foundation Course, Drawing Plaster Casts, Working from life, Value studies

In the following 4 to 6 lessons, we can choose the more complicated human torsos or plaster casts by ourselves to practice, which the drawing methods are the same as what we learnt from the previous lessons. We also changed to draw on the white paper rather than the brown paper, which makes the contract between the light and dark more obvious. It’s a shame that I missed the fourth class because of personal reason. So that I skipped the practice of the simple torso drawing and went straight to the cast drawing. This makes me lose one tutor’s guidance and lose the transition of the skill’s practice. It actually makes me a little bit confusing for a moment when I started to draw the ‘Fisher Boy’, which was quite a challenge for me. So, I would suggest that if no necessary, don’t miss lessons! It really makes a difference.

London Fine Art Studios, Foundation Course, Art, Drawing, Drawing from plaster casts
Shirley’s Cast Drawing week 4

The method is the same as we learnt how to draw the geometric blocks – to find the proportion of the whole object, and use straight lines to set the position, size and shape. The purpose of these lessons is to consolidate the practice of mass, proportion, shades, value, tones and stereoscope degrees. The feeling and enjoyment of drawing on white paper are much better than on brown paper. The effect will come out quickly, especially sometimes will let me have a sense of achievement.

But I don’t know if it is because the dark parts of my drawings are always not deep enough, or the contrast is not obvious enough. The cast drawings I’ve done in these two lessons look not very clean. Or perhaps because my daubing technique is not decisive and mature, so I repeatedly modified too many times.

Moreover, from the ‘Cherub’ drawing I did in the sixth lesson, can be seen that I still have problems in proportion. I was too hurry to enter the shadow daubing stage when I did this drawing, ignored that to get a more accurate proportion is the most important. The result is that the feeling of the character is not right – the little girl was drawn into the feeling of an adult. I will pay attention to this for the oil painting study next week!

London Fine Art Studios, Foundation Course, Drawing Plaster Casts, Working from life, Value studies
Shirley’s Cast drawing 6

第四到六周的Foundation课程我在London Fine Art Studios工作和学习的日子

接下来的第四到第六节课,我们可以自己选择喜欢的复杂一点的人体躯干雕像或石膏像,运用之前学习到的同样的方法来练习。这三节课我们也从棕色草纸换到了在白色画纸上画,这样黑白的对比就更加明显了。由于有事落下了第四节课,我跳过了先从简单的躯干雕像练习的过程,直接选择了更复杂的石膏像。但是这使我少了一次听老师指导的机会和可以先从简单的结构熟练一下技巧的过度。真的拿笔的那一刻有一点点手生和迷茫,对我来说挑战还蛮大的。所以亲身感受建议大家尽可能的不要中途缺课哦!不要缺课,不要缺课!真的是会有差别的。

画石膏像的方法和之前学的画几何块一样也是先找好整体的比例,用直线定好外轮廓的位置和形状。然后用眼睛丈量石膏各部位间的位置和倾斜度。这几节课是为了巩固对块、比例、光影、色调、立体度的掌握。在白纸上画的感觉和享受度真的比在棕色纸上好很多,效果会出来的很快,有些地方的效果会让自己很有成就感。

但是不知道是不是因为我的画的暗部总是不够深,或是亮暗的对比不够明显。我这两节课画的石膏像总有种看起来脏脏的感觉。也可能是因为刚上手,下笔还有擦抹的手法不够果断,犹豫的改来改去造成的。

而且从第六节课画的Cherub像也可以看出我的比例处理上还是有很大的问题。画这幅画的时候,有些急于快点进入到阴影涂抹阶段,忽略了其实将比例修的再准确些才是重中之重。画完的结果就是人物的感觉不对,将小女孩画成了阿姨的感觉。我会在接下来的油画色彩课注意这一教训。

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