08-15-2016, 09:09 PM
Alright, thanks ^^
The way you guys seem to be working is not necessarily the "academic" way of doing things. The french academic tradition that both Bargue and Gerome were a part of focused highly on the visual impression throughout the process of the work. The way they tended to introduce values was by keying in steps throughout the drawing so the relative contrasts are always correct (you can often see suggestions of this in Bargue's block-ins where he established important mid-tone information very early). This way the drawing always looks like the subject so you can readily compare the two. The shadow shape is still very important in the process but they did not neglect the rest of the drawing. If they did, doing a Bargue copy of the Belvedere torso would be a nightmare because there are only a few islands of shadow in a sea of mid-tones and reflected light ;)
There are a lot of new and interesting approaches that have started to gain some use like this one you're using and other examples would be what they're doing over at the Grand Central Atelier and SARA. I always think It's fun to see how different people handle the keying of drawings and paintings differently. It often suggests a lot about the underlying philosophy that guides the work ^^
The way you guys seem to be working is not necessarily the "academic" way of doing things. The french academic tradition that both Bargue and Gerome were a part of focused highly on the visual impression throughout the process of the work. The way they tended to introduce values was by keying in steps throughout the drawing so the relative contrasts are always correct (you can often see suggestions of this in Bargue's block-ins where he established important mid-tone information very early). This way the drawing always looks like the subject so you can readily compare the two. The shadow shape is still very important in the process but they did not neglect the rest of the drawing. If they did, doing a Bargue copy of the Belvedere torso would be a nightmare because there are only a few islands of shadow in a sea of mid-tones and reflected light ;)
There are a lot of new and interesting approaches that have started to gain some use like this one you're using and other examples would be what they're doing over at the Grand Central Atelier and SARA. I always think It's fun to see how different people handle the keying of drawings and paintings differently. It often suggests a lot about the underlying philosophy that guides the work ^^
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