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Posts Tagged ‘PAINTING SKETCHES AND DRAWINGS’

When drawing something this complex it is important to find a good position for your plumb line. Organize your shapes along the vertical and then plot out your lines constantly checking for accuracy. The light coming in from the left emphasizes the halftones of the muscles and the whole surface is modeled. Now, I drew this in a sketch book whose dimensions are 7 by 10 inches so errors become immediately apparent when drawing at this size. It was a bit of a challenge but enjoyable.

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You can download this font for personal use at dafont.com or fontspace.com

I wanted to design a font that was evocative of those old pulp horror magazines like Weird Tales but perhaps its greatest source of inspiration can be found by looking no further than Creepshow and Tales from the Crypt…

The painting used in this promotional image is one of my own. It’s part of a larger still life done in oils.

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Sometimes I will do a small study in a watercolor sketchbook with a paper thickness at around 300g.  I primed the page three times with a transparent primer and then drew the image in. I then primed it once more and set about my painting employing a limited palette. I put a light wash over the drawing using raw umber to establish the overall mid tone.  I get all the dark values in first using raw umber before subtracting the paint for the lighter areas.  You can use your fingers or a cloth or both as required.  Titanium white is then used in the lightest areas and then I use lamp black or a nice bone black for accents and the darkest darks.

I tend to work from the hair into the flesh finding all my local colors and only add refinement when everything is done.

Just remember that the mid tones are neither as dark or as light as should be.  You should work out your darkest darks and lightest lights from your mid tones.

For this little study I used a very simple pallet: Raw Umber, Titanium white and a Light Ochre which has great transparency.

This is a self portrait of William Hogarth.  It is one of his earliest known portraits.  He was a very interesting man; a painter, a printmaker, an art theorist; certainly someone worth getting to know.

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I have always felt that Ingres must have studied this painting before executing his own wonderful masterpiece…I’ll leave you to guess which painting I might be talking about!

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A friend of mine suggested that it would be a good idea to show some of my older pieces feeling that much of what I had painted in the past can still be enjoyed.  So, short of putting everything up I thought a small sample would do.  Here it is.

Joseph Dawson, oil   Joseph Dawson, oil 2Joseph Dawson, oil 3  Joseph Dawson, oil 4 Joseph Dawson, oil 5

When I painted these, I used quick drying mediums, cotton canvasses and soft flat brushes, building up my paintings in a manner closely resembling that of an Alla prima painter. (Alla prima means “at once”, a painting style that is done in a quickly-executed wet-into-wet fashion for faster results)

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