Friday, August 14, 2020

How to get unusual animal poses when working from life?

After looking at yesterdays' video about painting a dog from life, Ellen Edgerton said, "Unfortunately for me when I keep an idealized animal form in my mind, the painting I end up with seems stiff and without spontaneity. What are some ways to overcome that?"

Answer: I know what you mean. That happens to me, too. If you're painting them from life, you can start with a pencil or pen doodle sketchbook to notate the very quick gestures and weird poses and then you have those locked in to guide your painting. 

This video might have a few more tips. 


scottT said...

You are on fire in this video! One of my favorites. I especially love the structure of your portrait of Smooth at 4:30. (Even with the added degree of difficulty of changing pose!) The description that came to my mind is "faceting"..."definable aspects that make up a subject".

I don't know if you have ever zeroed in on this subject. You add the detail on a chunky framework of larger planes (facets, like cutting a gem). These also have temperature and value depending on their relation to the light source. The end result here is really structural and substantial quality in the finish.

MK Buike said...

At the State fair, I go into the draft horse barn to sketch. They are all face first in the stalls, so I mostly have horse butts, but that's ok. If I position myself well, I can also get a bit of a view of the head. The horses don't move much when they are in the stall.