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See Art in a Fresh Way

They also require different disciplines.

I always start with a visual idea. It doesn't matter how badly drawn or crude the sketch is; it is only to get the visual idea/composition down on paper.

This thumbnail drawing is 2x4".

Another important thumbnail sketch is an atmospheric drawing. This was done from life. It is also 2x4". I spent about 10/15 minutes drawing it.

Squinting is an incomparable method to create atmosphere and to see nuances of light. It is imperative that you do not worry about details, rather, by squinting, you look for all the tonal values in your visual range. You are not looking at the individual trees here--you are looking at the forest.

It is also important to squint at the drawing while you are drawing it. When I make these, I squint 95% of the time at both the subject and the drawing, constantly comparing them with each other.

Next it is important to lavish time on checking and double-checking your form and outline. Here I used a triangulation technique. The trochanter, the hip bone, was my major point--and rest of the alignment sprung out from there.

I will discuss the purpose of the grid below.

This is a finished graphite drawing, using 6b pencils. I also use an ancient Panasonic electric pencil sharpener. Here I am pulling together details, anatomy, forms, and light and shadow.

I don't have a picture of it, but this image looks very similar to the over life-sized,  monochromatic, oil underpainting. In which I used Titanium White, Raw Umber, Mars Black, and Yellow Ochre.

Finer detail drawings are always helpful. I try to get as many of those I can get at the start. But the truth is, I do more of them as problems pop up in course of the painting.

Making a simple drawing from a 90 degree view, around the corner, helps you see the different depths of the figure.

This drawing is a cross-section of her figure. Imagine you are standing off to left.  Her elbow would be the closest to you, followed by the hip, then breast, then knee, and etc.

Color studies are great tools which bring a fresh living quality to a figurative painting.

A great aspect of oil paints is that you can blend the colors easily. But that also encourages over-blending,  which can lead to gray and muddy colors.

I have found that it is essential to  have several pastel studies for my color references. Pastel helps me see nuance of color shifts, often quite dramatic.

The more realistic you want to have the final outcome, the easier it is if you have fine grid over you detail contour drawing.

I am anal retentive when it comes to transferring the grid and contour image over to the main canvas. It saves you from enormous problems later.

Hope you enjoyed seeing art construction in a fresh way.

Michael Newberry
New York, January 6th, 2007