Diebenkorn-inspired drawing with Procreate, Ruthie V.
Today my art buddy Lendy and I took some photos to practice for our “Draw like Diebenkorn” workshop this weekend. We set up some still lifes, and I took some selfies. I don’t have a camera with a tripod in my apartment so I used my laptop’s Photo Booth feature. For anyone who has used this before, you know that you have exactly 2.9 seconds after you press the button to sprint to the other side of the room, hit a pose, and attempt to look relaxed. I took 32 photos, and most of them are of me trying to rapidly adjust myself. I finally got a couple Diebenkorn-similar poses that were good enough for practice. This was a relief. My legs couldn’t have done another sprint across the room.
Now with some images, I realized I hadn’t prepared myself with standard drawing supplies, so I decided to see what I could do with my new Procreate digital painting tools.
With the figurative drawing, I experimented with a couple different pens and pencils on the digital tool. Luckily, scribbling came easy. My rushed pose had an awkwardly high leg, but the digital tool made it easy for me to move it down. With Diebenkorn style, I decided to leave the marks from the previously drawn leg, which helped I think.
Diebenkorn-inspired drawing with Procreate, Ruthie V.
The still life was more difficult. I tried watercolor brush, and that was good, but what really gave me a fun texture was the fresco brush. I altered sizes and opacities as I went. Adding layers made it easy to make changes, and erase parts but not entire areas. I admit I used the undo button quite a bit, but not for the aim of perfection (clearly). I used it more to work with a more relaxed impulsive rhythm, and once I saw my mark was too dark, too big, or in the wrong place I just tapped it out. What a luxury!!! I didn’t have to worry. I just played.
Diebenkorn-inspired drawing with Procreate, Ruthie V.
Poor Lendy. She had to use an eraser for her “real paper” drawing.
Diebenkorn-inspired drawing, charcoal on paper, Lendy Hensley
You can see a very, very large collection of Diebenkorn sketches here and here. Putting together these collections of over 100 sketches, I learned a lot about Diebenkorn’s composition preferences. I’ll talk about those during the workshops.
[image_with_animation image_url=”7643″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Bruce Nauman, Failing to Levitate in My Studio, 1966. In art school I learned about the clever and funny Bruce Nauman. In particular, I learned about a series for which he said (I’m paraphrasing broadly) “I am an artist, therefore everything I do is art, therefore this is art.” And …
‘Let it be felt that the painter was there; consciously looking at the objects in their light already conceived from the beginning.’Pierre Bonnard (1867-1947) Pierre Bonnard drew obsessively, on his daily walks in the country before breakfast, at breakfast, at lunch, at dinner, loafing around the house and garden, in cafés, in the streets, out of …
Yesterday I talked about how Carlos San Millan paints the effect of light so beautifully, and posted work by a painter he recommended: Emil Joseph Robinson. Today I’d like to make some points about one of his paintings, and how he has applied ideas of contrast to paint the effects of light. Take a look …
On day 15, halfway through our 30 day challenge, I introduced inverse perspective, in which objects grow larger as they’re farther away. Beautiful examples of inverse perspective can be found in Chinese, Japanese, and Indian artworks, as well as Byzantine. Here are a few by adventurous artists who responded to the challenge:
Draw like Diebenkorn …with Procreate
Today my art buddy Lendy and I took some photos to practice for our “Draw like Diebenkorn” workshop this weekend. We set up some still lifes, and I took some selfies. I don’t have a camera with a tripod in my apartment so I used my laptop’s Photo Booth feature. For anyone who has used this before, you know that you have exactly 2.9 seconds after you press the button to sprint to the other side of the room, hit a pose, and attempt to look relaxed. I took 32 photos, and most of them are of me trying to rapidly adjust myself. I finally got a couple Diebenkorn-similar poses that were good enough for practice. This was a relief. My legs couldn’t have done another sprint across the room.
Now with some images, I realized I hadn’t prepared myself with standard drawing supplies, so I decided to see what I could do with my new Procreate digital painting tools.
With the figurative drawing, I experimented with a couple different pens and pencils on the digital tool. Luckily, scribbling came easy. My rushed pose had an awkwardly high leg, but the digital tool made it easy for me to move it down. With Diebenkorn style, I decided to leave the marks from the previously drawn leg, which helped I think.
The still life was more difficult. I tried watercolor brush, and that was good, but what really gave me a fun texture was the fresco brush. I altered sizes and opacities as I went. Adding layers made it easy to make changes, and erase parts but not entire areas. I admit I used the undo button quite a bit, but not for the aim of perfection (clearly). I used it more to work with a more relaxed impulsive rhythm, and once I saw my mark was too dark, too big, or in the wrong place I just tapped it out. What a luxury!!! I didn’t have to worry. I just played.
Poor Lendy. She had to use an eraser for her “real paper” drawing.
You can see a very, very large collection of Diebenkorn sketches here and here. Putting together these collections of over 100 sketches, I learned a lot about Diebenkorn’s composition preferences. I’ll talk about those during the workshops.
Draw like Diebenkorn Workshop, April 11
Paint like Diebenkorn Workshop, May 9/16
Spring classes start this week!
Digital Painting with Procreate, Wednesday Morning (Shortie) $95
Digital Painting with Procreate, Saturday Morning (Shortie) $95
Landscape Painting with Procreate, Wednesday Morning (Shortie) $95
Portrait Painting with Procreate, Saturday Morning (Shortie) $95
Related Posts
SAL Challenge Day 10: I am an artist
[image_with_animation image_url=”7643″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Bruce Nauman, Failing to Levitate in My Studio, 1966. In art school I learned about the clever and funny Bruce Nauman. In particular, I learned about a series for which he said (I’m paraphrasing broadly) “I am an artist, therefore everything I do is art, therefore this is art.” And …
Bonnard’s Interior and Figurative Drawings
‘Let it be felt that the painter was there; consciously looking at the objects in their light already conceived from the beginning.’Pierre Bonnard (1867-1947) Pierre Bonnard drew obsessively, on his daily walks in the country before breakfast, at breakfast, at lunch, at dinner, loafing around the house and garden, in cafés, in the streets, out of …
Emil Joseph Robinson; the Science of Light
Yesterday I talked about how Carlos San Millan paints the effect of light so beautifully, and posted work by a painter he recommended: Emil Joseph Robinson. Today I’d like to make some points about one of his paintings, and how he has applied ideas of contrast to paint the effects of light. Take a look …
30SAL Faves: Inverse Perspective
On day 15, halfway through our 30 day challenge, I introduced inverse perspective, in which objects grow larger as they’re farther away. Beautiful examples of inverse perspective can be found in Chinese, Japanese, and Indian artworks, as well as Byzantine. Here are a few by adventurous artists who responded to the challenge: