Artist uses Renaissance Techniques: 100s of hours. LINK

 Drawing from observation is the basis of my workshop contextualized curriculum per the intro to Studio Drawing.  "Build the skill to late better express the creativity!"

 Dedicated rigor along the way.

 Graphite & Charcoal.

 Perspective from varying views. 1, 2, & 3 Point perspective is reviewed.

 We even take Drawing Safaris out to observe perspective in real space and time.

 These are Self-Portrait samples my co-teacher-tutor and I produced using the same media but with a varying application of the Subtractive / Additive  technique. 

 We both treated the white paper with charcoal buffed to achieve a mid-tone value after having taped the white drawing paper to the board.  Mine is more extreme in its range of values. Whereas his is more in the mid value range. Both are totally acceptable results.

This Self Portrait Assignment starts by taping your paper to a board. You must tape around the entire each / perimeter of the paper.

 Then lightly covering the paper with Compressed Charcoal.  Then using a rough paper towel, rub in the charcoal until it is an even gray tone or hue.

Now using the mirror, study your face.  Using the eraser …. start to draw your features.  Keep in mind to draw yourself exactly the way you look in the mirror. Do not draw from a photograph or phone! Do not draw a cartoon version or avatar of you...but go for a naturalistic detailed look.

Using the Charcoal......add the grays and darks.  Blend and smooth all the tones using a rolled piece of paper towel...or your Stub.  Stubs were listed in your Course Syllabus as a routine supply item.

You will find this charcoal is easy to erase whenever you want to redo parts of your drawing.

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NOTE:

This is the Subtractive / Additive Technique in Drawing.  The Italian Renaissance era artists referred to it as Chairoscuro: Going from light to darks. The treatment of light & shade in a drawing and painting. An effect of contrasted light and shadow falling unevenly or from a particilaar direction on something.

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 Art often teaches us that there are more than one correct solution to a challenge.

 Students learn that the buffing process is a slow yet vital aspect of this project.

 Process, media and techniques matter.

This is the value range we want.  Now the student-artist can study themselves and begin drawing with charcoal and the eraser.

 These are samples my co-teacher-tutor and I produced using the same media but with a varying application of the technique.  We both treated the white paper with charcoal buffed to achieve a mid-tone value after having taped the white drawing paper to the board.  Mine is more extreme in its range of values. Whereas his is more in the mid value range. Both are totally acceptable results.

 Art often teaches us that there are more than one correct solution to a challenge.

 Students learn that the buffing process is a slow yet vital aspect of this project.

 Process, media and techniques matter.

This is the value range we want.  Now the student-artist can study themselves and begin drawing with charcoal and the eraser.

 For many of my students, this is the first drawing class they have taken.  Along with it being their first time drawing a self-portrait.

We make sure to carefully use our spray booth and workable fixative to protect the charcoal drawings.

 Students return to the use of the photograph as source material.  Some may have thought that using a photograph was not valid however it allows for a processed two dimensional source to be observed, analyzed and replicated using drawing media.

 Our primitive ancestors used burnt wooden sticks and reflections on water or ice to create the first "selfies".  Now we use mirrors and compressed charcoal.

 In learning about drawing the human figure we spend time studying the amazing potential of our skeleton as a dynamic source.  Internal then on to the external.

 My goal is to teach in a workshop setting that is free of stress yet compelling with rigor and sources. We survey a wide range of techniques.

 Perspective is the illusion of distance relationships manifested on a two-dimensional surface. Or in the picture plan.  There are various systems and approaches to master it.

 Observation is key.  The eye is a serious asset.

Color is an exciting design element to understand, apply and master in drawing.

 The above is a set up for the study of Form, Values and Textures in the absence of Color.

This is a Value and Shape exercise using the Grid-Scale method.

 Frank Frazetta was a powerfully resourceful illustrator and artist who respected drawing with pencil and charcoal as a way to show narrative concepts for a variety of clients.

These and all images on this blog are shown for educational purposes.

 Prof. Onli, teaches studio drawing at the Harold Washington College in Chicago after a career as a freelance major market illustrator which depended on his drawing skills and visual ideas.
Image Copyright Turtel Onli 2016

 Commercial clients demand to see samples at each step in the process. 
Copyright the Frank Frazetta Estate

This is a simple thumb-nail for a horror book cover.

 Students working from selected photos or a mirror are confronted with a host os issues and problems to solve.  Scale, line, values texture along with form are design elements along with the nature of their media converge in focused technique.  Often the process is of more importance than the results.

 The smart phone is a cool way to store the reference.  Using a photo as a resource.

 Often a self-portrait expresses what the model/artist thinks of his or her self.

 Copying from a photo is open to creative expression of disciplined application of design elements and information.