Andrew Loomis on rhythm lines

| Ifat Glassman

One of the quotes by Loomis that were on display at my atelier grabbed my attention and I wanted to post it here:

I think those lines are even better when the form connections in a way that enhances the meaning of an artwork – in a way that enhances its story or mood.

Here are a couple of examples I posted about way back:

Weekly #8 and Weekly #6 (skip to the second picture in that post and start reading from there).

It is exactly like in music, only in visual form, as Loomis said. I find it somewhat amusing… when I first heard the idea of rhythm lines I told my teacher it reminds me of different parts of an orchestra coming together to form a symphony by playing variations on the theme at the same time. Then I saw that Loomis wrote something very similar way back. I felt so proud to have said something that Loomis had said, I had to boast. 😀

Cheers,

-Ifat

Paintings, Drawings and Atelier projects (weekly #22)

| Ifat Glassman

Been busy busy in the past 2 weeks. Finally started painting this week.

Here is the first painting I did this year, during a 2 hour sitting:

(Enlarge all images by clicking on them).

I also went back to my dear skull, this time to finish the battle. Indeed, it is a glorious one. One which will be remembered in the Ifat history books of painting progression. This is the second skull I am painting, in the same setup. I worked on the first for 3 months and decided to start over because I judged it to be overworked and too far off.
In working on the current one I realized that I am unclear on the global value relationships and did a small study to figure it out. It’s a very analytic process, not a lot of fun and surfing going on there. Here is a neat photo I took of the painting, the study (middle) and the setup of the skull itself.

At the bottom of my easel is attached a new note I wrote to myself with some stern reminders on proper work methods. This is my attempt to assign myself as my own enforces. I even added some dramatic emphasis to make sure I understand how serious I am about these rules! It’s working great so far.

The one thing I still need to add in my studio is a note my brother wrote me for my last birthday which made me feel very good about what I’m doing.

 

More stuff:

The sketch I discussed in this blog post has developed into a fully developed skeleton on which I planned to overlay muscles, flesh and ultimately make into a full human being with invented lighting and all. Now that I started painting this drawing will have to take a second priority, but it is wonderful to be able to draw something from imagination and see it come to live without a model. It will be interesting to see it through. Here is the skeleton I drew (the sketch from which it started on the right):
 

Another quick and fun drawing I did a week ago:

Turns out that sometimes being in a bad mood helps me bring more emotion into an artwork. The art process can become an outlet for what I’m feeling if the subject matter fits.
At this time I kiss goodbye to the quick block-in’s section of the curriculum. Here are a couple of the last block-in’s I did:

  

 

One of the forms of analysis that come to me most naturally, as a natural desire, is to understand the form I’m looking at in 3D. I think every artist has different tendencies in this regard. Some tend to see more graphical shadow shapes, some focus more on gesture lines. For me it’s been the planes and 3D connections. I don’t remember experiencing it when I drew from photos before joining the atelier, but once I started doing long drawings from life, it was one of the main things I was thinking of when drawing. I find this pleasurable in rendering as well, because I feel that by pulling my lines in the direction of the turning of the form I’m creating something real inside the page, as if I could almost slide my hands on it as if it were a solid object. Sounds a lot like how a sculptor would think. Indeed, I love sculpting too. I would definitely do some of that in the future, if time permits.

I find that painting does not come as easily to me as drawing does. But slowly I’m beginning to remember how to paint. I’ve had nearly a whole summer to forget it, with exception of a painting I consider successful which I painted in August.
I wish you all a good week, I appreciate your interest,

Ifat

My Weekly post #21

| Ifat Glassman

As usual it’s the end of the week and I am without time to write a long post. Between work and school I am not left with much time over the weekend.

First I’d like to share the progress I’ve made with my summer painting. I it nearly finished and just required a few final touches. This photo was taken in august:


I painted this more loosely than how I paint at the atelier and using a different method. Here I first did a warm under painting:

Then I painted the cool colors thinly on top. I like this method and I will try to use it more in my paintings at the atelier.
On to another painting… actually it is more of a painting idea. I got it as I was walking down the street during lunch time; it was sunny and the trees were in autumn colors, the road full of red and golden leaves, swept in the wind. I had this image of this figure standing there with her hair flowing in the wind, giving a sculpture-like interpretation of how I felt about this autumn scene.
I took a photo of the scene to use as a reference and sketched out the figure from imagination. And while there is a lot of time until I start working on it, I thought it’d be fun to share this initial stage:
 

 

-Ifat

Prints of my portrait of Ayn Rand Available (The Objective Standard cover)

| Ifat Glassman

Prints of this drawing of Ayn Rand that decorate the cover of the current issue of The Objective Standard are now available for purchase!

Visit This Link.

Here is the drawing itself:

 

In purchasing there are several size and framing options.

 

Cheers,

-Ifat

Weekly #20

| Ifat Glassman

Due to shortage of time I will only post some of my drawings from the past week, without discussing what’s on my mind.

This week while working from the model I challenged myself to use the model as a looser reference; to draw the gesture but with a different body type than the model’s. I think the idea popped in my mind because the model had great poses that I found very inspiring but she herself was in her 50’s or 60’s and I wanted to draw a younger body. So these drawings are all 20 minute poses and are based on a much older model. I used my knowledge of anatomy to do this. This first one, right bellow, is my favorite.

    

 

Another thing I started working on is creating a drawing from imagination based on general knowledge of anatomy and perspective. This is actually part of my curriculum although I do it on my free time as well. I love drawing from imagination. Love it love it love it.

Here are the preliminary sketches:

Here I started developing the underlying anatomy:

  

There’s something about this pose I really like. It is very powerful with, even, a hint of violence I would say. It looks like even though the figure is holding the stick lightly behind her back with one hand, she could easily swing it around to use it as a weapon. Not that I think that beating up someone with a stick is the ultimate symbol of strength, but I do respect the concept of a warrior. A warrior  to me, is someone who fights for their values when they are under attack from others. And let’s face it, in today’s world everything comes with a struggle, with people getting in your way one way or another. Guarding what’s important to you is an important skill, and a stick is but a symbol of that loyalty to one’s self.

In any case, I like it. I like it better than the right-most figure with which I started and in the next two weeks I will develop it some more.

Cheers,

YIf’at

Weekly #19

| Ifat Glassman

Working on anatomy mornings and afternoons for the past 3 weeks at my Atelier. Let me show you some of what I’ve done.

More skeleton drawing from the model:

Some block-ins and rendering, just to remind myself those things still exist:

  

And finally, more anatomical drawings, this time building muscles and a skeleton after drawing the figure in a certain pose:

I am working on this one with an anatomy book open beside me, putting on one muscle after another, taking note of their function and appearance in key areas.

And an early stage: Analyzing the perspective of the figure (how the planes and volumes of the figure are oriented in space in relation to the viewer):

 

I find anatomy fascinating. I have such reverence to the human figure and how our bodies work. 3 more weeks of anatomy – the next ones will cover areas of anatomy I know less about. I expect it to be a difficult and interesting learning experience.

Cheers!

YIf’at

P.S. I decided to start spelling my name this way sometimes instead of “Ifat” to help explain its pronunciation.

Weekly #18

| Ifat Glassman

This week was more anatomy. This time the exercise went beyond just drawing blocks for the torso and pelvis and got into muscle groups.

We worked from a skeleton and then put muscles on top of the skeleton, and from a live model, trying to figure out where her torso and pelvis would be located and then putting the muscles on top, using knowledge of certain anatomical landmarks.

Here is one example in photos that show the progression:

        

Here is some from a live model:

        

This week we will cover a different muscle area. I think it will be the legs.

Cheers,

-Ifat

First Week of School

| Ifat Glassman

I’m back, full time at Georgetown Atelier after a summer break. This is the beginning of my third and final year. I will be painting with a full palette.

Last year was mostly monochromatic – black and white, so having all the colors I need at my disposal will certainly be a big change.

 

Following the curriculum, I spent the first week drawing simplified versions of major anatomical parts as simplified cubes, showing their orientation in space from a skeleton and a live model. It was a mentally demanding exercise. Here is an example of it I found online (Link).


It brings up an interesting point about drawing. What does drawing involve? How is it accomplished? What does the artist think of when drawing – do they simply copy the lines they see?

The answer is no – believe it or not, but copying the lines as you see them will rarely lead to a coherent drawing, even when given a long time to work on it. This is because the lines of the figure (or objects in general) are a result of the volumes that generate them and the angle in which these volumes are viewed, as well as the result of the way the figure is lit. The contour created is complex, and the only way to make the drawing “work” is by considering not just the line in isolation, but the relationship of each line to other lines. For example, when drawing an arm, one must never copy each contour separately, but always consider the other side when drawing one side, or even draw both at the same time. But more is involved – the arm must also make sense with the torso and not appear disconnected from the body. It should have the right length in relation to the body and so on, so while looking at one particular line or object the artist has to simultaneously consider other parts.

As an artist, I was taught to use multiple “lenses” through which I observe the figure (and other objects) that help me convey what I find interesting in a realistic way that also stays true to whatever it is inspires me about the subject.

This way of analyzing the figure as blocks in perspective, is one more “lens” which artists can use to make sense of the figure.

Other lenses are the abstract shape of objects, gesture lines (identifying the overall flow of the figure), planes (analyzing the diferent planes of the figure), value shapes (such as shadow shapes), anatomy, angles, volumes and more.

The more an artist practice, the more they learn to automatically use all these lenses at the same time.

For me, I find that the most important thing is to cling on to an emotional response I have about a certain aspect of the pose and then start the drawing focusing on that part. I would therefore start with the general line of the gesture, or with some part of the contour that I find most essential to the gesture (what I find charming about the gesture), then I would build the volumes while keeping proportions and perspective in the back of my mind, looking for connections of one body part to another through lines that go through the figure and measure angles. Especially angles that play a critical role in the gesture. Many times I would also exaggerate the gesture to make it more expressive of what I like. ?Then, when considering the parts of the contour that are a result of muscles, I consult my knowledge of anatomy.

Anyway… I’ll be returning to my weekly posts starting this week, now that I have more content to post.

This year will include more personal projects, instead of just such that follow the curriculum. My main focus is to learn, with self-expression being a secondary. I don’t think it is actually possible to work and be motivated to work if self expression is completely absent, but my point is, unlike independent practicing artist, I will still not choose my subject matter most of the time and most of the art I produce is an exercise of some sort, in which I am aiming to learn something new. However, I never shut down the door on inspiration and when I find something that inspires me I go for it (sometimes at the expense of focusing on the exercise aspect of when I should be doing), but that’s OK. If I weren’t this way I wouldn’t be an artist now would I…

 

Next update: a week from now.

Cheers,

-Ifat

Ayn Rand portrait commission

| Ifat Glassman

I’ve recently completed a commissioned drawing for the magazine The Objective Standard: A portrait of Ayn Rand, my favorite philosopher and author and a figure I deeply admire. Ayn Rand’s writing has profoundly changed my life and I was honored to take on this commission of rendering a portrait of her.

 

Some early stages: The Block-in of the drawing:

The main challenge in this project was to render a portrait of someone without a direct reference. I therefore had to study her features from various photos and T.V. interviews and base the drawing off of my understanding of her features as well as general knowledge of anatomy.

Here are some of the studies I did in preparation for the drawing:

    

Leftmost: A drawing of Ayn Rand’s eye on toned paper using black and white  pastel pencils.
Center: A drawing to establish the mood and character of the piece.
Right: A drawing in graphite studying Ayn Rand’s features.

Another challenge was to get the expression just right.
If I had to describe how I think of Ayn Rand in a concise manner, I would describe her the following way: An intense, uncompromisingly truthful individual with a deep and all-pervasive joy of life.
This is what I was aiming to show in the drawing and I have accomplished it to my satisfaction.

The process of making it has been enjoyable and exhilarating because I was listening to Ayn Rand’s interviews in the background as well as podcasts by her intellectual heir, Leonard Peikoff, which reminded me just how valuable Objectivism is to my life.

On a different note – This Monday, September 17th, 2012 I’m going back to study full time at my school, Georgetown Atelier. The year will start with lots of gesture drawings and constructive anatomy. I feel excited to use my accumulated knowledge to draw and improve my skills to create more integrated drawings. I’m very excited!

If you wish to get updates you can subscribe by email (top right) or through my Facebook page.

 

Cheers,

Ifat