Category Archives: Drawing

Eye Candy for Today: Rembrandt etching of farm scene with a man sketching

Cottages and Farm Building with a Man Sketching, Rembrandt Harmenszoon van Rijn, etching
Cottages and Farm Building with a Man Sketching, Rembrandt Harmenszoon van Rijn

Etching, roughly 5 x 8 in. (13 x 21 cm); in the collection of the Morgan Library and Museum, which has both a zoomable and downloadable version of the image on their site.

Remarkable though they may be, Rembrandt’s etchings of Biblical scenes are somewhat formal and tightly composed. Sale of those etchings was an important part of Rembrandt’s stock in trade an an artist.

His etchings of landscapes, however, seem an extension of his apparent love of sketching on location; they carry much of the relaxed and confident charm of his landscape drawings.

In these etchings, like his reed pen landscape drawings, I get a sense of pleasure in the act of drawing — the fun of hatching in the dark tones, the joy of his needle scratching across the plate, searching out the gestural shapes of the tree and the animals, and the quiet satisfaction of spending time out sketching the countryside with another artist.

 
Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedin

Eye Candy for Today: Carlo Ferrario ink drawing

Ancient Structure Beside a Stream, Carlo Ferrario ink drawing
Ancient Structure Beside a Stream, Carlo Ferrario

Pen and black on on paper, roughly 6 x 9 inches (16 x 23 cm); in the collection of the Morgan Library and Museum, which offers both a zoomable and downloadable version on their site.

I love how free and gestural Ferrario’s lines and hatching are here, so seemingly quick and casual as to appear scribbled; but over a foundation of solid, confident draftsmanship.

Ferrario often did drawings for the designs of operatic stage sets. If this was not one of those, my guess is that it is still likely a capriccio, an imagined rather than observed scene.

See his design for a stage set, with rows of receding arches, in the middle of the images in this post about “Graphite Drawings from the Metropolitan Museum of Art“.

 
Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedin

Nico Delort & Teagan White at Gallery Nucleus

Nico Delort & Teagan White at Gallery Nucleus
Beautiful work by Nico Delort and Teagan White — both of whom I have featured previously on Lines and Colors — is currently on display at Gallery Nucleus in Alhambra, CA until March 5, 2017. Many of the originals have already sold, but some pieces are still available.

If you’re not familiar with these artists, see my previous related posts for more information and images, as well as additional links. Both are quite wonderful.

(Images above: Nico Delort, top six; Teagan White, bottom five)

 
Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedin

Eye Candy for Today: Ingres portrait of Madame Félix Gallois

Madame Felix Gallois, Jean Auguste Dominique Ingres
Madame Félix Gallois, Jean Auguste Dominique Ingres

Graphite on paper, with touches of cold highlighting the jewelry, roughly 14 x 11 in. (35 x 27 cm); in the collection of the Metropolitan Museum of Art; use the download or zoom links under the image on their site.

Another of Ingres’ beautiful and deceptively simple graphite portraits — sensitive, incisive and dancing on that wonderful line between responding to a person and looking at lines on paper.

 
Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedin

Framed Perspective, Marcos Mateu-Mestre

Framed Perspective,  Marcos Mateu-Mestre
Just to put things in… context, the history of graphical perspective goes back further, but the system of geometric perspective we use today can be traced to an important point in the beginning of the 15th century, when Filippo Brunelleschi — the brilliant Renaissance architect and designer who solved the seemingly intractable problem of spanning the world’s largest cathedral dome space with an ingenious solution — codified a system of graphical persepctive that was immediately adopted by almost every artist who was made aware of it, and most artists since.

Like his solution for the dome of the Florence cathedral, the model of geometric perspective Brunelleschi demonstrated solved problems that had previously seemed impossibly difficult.

Artists and art students have either been thanking or cursing him ever since, depending on whether they see graphical perspective construction as an an incredibly powerful tool or as a burdensome learning process akin to school studies of math or chemistry.

Linear perspective study can seem difficult when ill-presented, but when taught properly, it can be a golden key to drawing and painting with a strength, solidity, accuracy and realism impossible to achieve without it.

Short of taking a course with a good instructor, those interested in mastering perspective are left to find their own way with books that are too often poorly presented, overly obtuse and almost as boring to look at as a mathematics textbook.

While there are some pretty good perspective books out there, I’ve just received review copies of a new two-volume set on perspective that has shot to the top of my personal list of best books on the subject.

Framed Perspective Vol #1 and Vol #2, are new books from Marcos Mateu-Mestre, a concept artist and illustrator who I have written about previously and whose drawing style I have always found particularly appealing.

As in his previous book: Framed Ink: Drawing and Composition for Visual Storytellers (link to my review), he tackles the the subject within the framework of real world use and practical application.

Also like that book, Mateau-Mestre has not only used real-world type examples to illustrate the concepts, he has also used them to make his books something that perspective books rarely are: visually appealing and entertaining.

Framed Perspective Vol. 1 is subtitled: “Technical Perspective and Visual Storytelling”. In it Mateau-Mestre starts at the ground floor (so to speak) and takes you from the basic concepts through solutions for some reasonably complex challenges, including multiple vanishing points, staircases, three-point perspective, arches and domes, and the application of perspective to freehand sketching.

At over 200 pages, it’s packed with information and techniques and a reality-based approach that stays focused on what’s really useful.

Framed Perspective Vol. 2 is subtitled “Technical Drawing for Shadows, Volume, and Characters”, and deals with the too often neglected subjects of applying shadows in perspective and applying perspective to the human figure, including the representation of clothing and folds, and the application of shadows to figures.

Though not as extensive as Volume 1, this one still weighs in at over 120 pages, and is jammed with useful information, as well as Mateu-Mestre’s wonderful drawings and illustrations.

Throughout both volumes, the illustrations, diagrams, text and book design are clear, concise and well thought out.

Any artist with an interest in comics, graphic storytelling, concept art or illustration — as well as painting and drawing of any kind that involves linear perspective — should look into these superb volumes.

If you’ve found books on perspective daunting and/or boring, Framed Perspective may open your eyes to a world of possibilities for understanding and using one of an artist’s most powerful tools.

 
Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedin

Eye Candy for Today: Antonio Mauro Perspective Design for a Stage Set

Perspective Design for a Stage Set of an Italian Cityscape, Antonio Mauro II, drawing in pen and ink and leadpoint with wash
Perspective Design for a Stage Set of an Italian Cityscape, Antonio Mauro II

Pen and black ink, brown and gray wash and leadpoint layout lines, roughly 10 x 14 in. (27 x 36 cm). In the collection of the Metropolitan Museum of Art, use the Enlarge or Download links under their image.

This beautifully crafted 18th century design for a stage set, with its complex perspective view of a city street, also works as a drawing.

The artist’s use of wash — both in the heavily shadowed wall on the left and the lighter applications that add dimensionality to the architectural details on the right — give the composition solidity and enhance remarkable feeling of depth created by Mauro’s command of linear perspective.

If you look closely (the high-resolution image on the Met’s site is considerably larger than my detail crops above), you can see some of the artist’s perspective construction lines.

 
Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedin