The Figure Network

Gesture drawing

2010-01-15T15:54:00.000-08:00

Quick 10 minute Gesture Drawing from Founder Darwin Leon with the idea of solving the most immediate critical aspects and making fast decisions when drawing the Figure such as:
-Basic foundation (prediction)
-Composition
-Shapes and forms
-Proportions
-Angles - levels
-Perspective
-Line definitions
-Pre-lights and shadows
*With this gesture drawing exercise the artist is forced to spend more time observing the figure

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Is never too late to go back to the basics...

2009-09-05T15:50:00.000-07:00

Video: A figure art revolution in the 21st century...Drawings and paintings by founder of The Figure Network Darwin Leon

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www.darwinleon.com

The power of gesture - sketch drawing and improvisation in the creative process using the dynamic figure

2009-07-19T10:56:00.000-07:00

It is sometimes difficult for the contemporary fine artist to make decisions on what to draw or paint in these times of mass artists, technology and art conflicts. With the invention of photography centuries ago and the current contemporary digital art revolution, it becomes even more difficult for the modern fine artist to have some recognition in the art world.

I always say drawing is the key to the many doors and portals that will lead you to good paintings and own voice no matter what kind of style you approach. It is a slow and secure process and as any famous artist in history, influences play an important role in this process.

Sometimes we are afraid drawing from our head and we spend a lifetime drawing from pure reference. And as I mentioned earlier, with the arrival of technology and digital art, fine art drawings and paintings done from pre-established reference will become more and more less original in the art world, which I consider a very unhealthy approach for the future of the arts. Drawing and painting remind us that we are not perfect as humans, no matter how much we or we'll evolutionate in the upcoming generations of our civilization.

I invite you to draw more and more and improvise no matter how it comes out. By activating your creative process you'll enter new horizons in the realm of your imagination. Your work will become more original and pure with these exercises and will help to keep a solid future for the creative fine artist.

Here are some drawings that I created in a short period of time with the intention of contrast this idea previously mentioned.

Also in here are some previous reference links from the blog that will give you a more clear understanding:

http://thefigurenetwork.blogspot.com/2009/03/effectiveness-of-gesture-drawing-and.html

http://thefigurenetwork.blogspot.com/2008/08/mr-ms-nobody.html

http://thefigurenetwork.blogspot.com/2008/06/draw-anything-and-everything.html

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"Drawing" as an artistic evolutionary statement - using C. Darwin in steps

2009-06-27T16:58:00.000-07:00

Charles Darwin

click on image to see all steps enlarged

Evolution as an Art Statement. The Figure Network believe in the idea that art should evolve as we approach new times and that we should set an example to the upcoming art generations, and of course...it should begin with the figure. In here I am using Charles Darwin portrait as a symbolic statement for this purpose in basic drawing steps.

For basic steps refer back to: The Power of Objective Observation

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Using "alla prima" moving into abstract expressionism contemporary portraiture

2009-06-01T19:15:00.001-07:00

Portrait of my wife at age 29
oil on canvas

Alla prima: a painting technique in which a canvas is completed in one session, often having a thickly applied impasto.

As we move into a more creative approach with the figure sometimes it is hard for the contemporary fine artist to find a way to express or align with modernism.

I find Alla Prima a temporary effective and strong solution as far as the medium is concerned. Why temporary? Well, it is only my opinion, but it could only be stage or period in the artist's career to move on. This is only an aspect of creativity, but a great ice breaker for style development that will open the door to many possibilities in you art.

Alla Prima is just like the concept of gesturing with graphite, only this time with paint (also works great with acrylics)

In here, once you have your under painting applied onto the canvas you can use it effectively for your advantage, which could be most of the colors that will be associated with your painting.

The benefits

A strong solid painting style application foundation is the essential benefit of this concept.

For those fine artist interested on abstraction (even non-objective)this is the exercise for the comprehension of abstract approaches (I strongly recommend to review the Abstract Expressionists at the beginning-mid of the 20^th century and why they did it, and their influence in today's art)

The steps

When selecting what to paint, specially where the figure is related, think about the fact that the more drama you create on your subject the more effective and impacting your painting will be.

Choose a subject with high chiaroscuro, in other words a subject with high contrast and variety of tones and values.

After your under-painting is ready begin by sketching your drawing foundation straight with your painting brush (burnt sienna or other dark earth color associated with the skin). Don't worry about corrections at this point, feel free to build multiple lines with your brush, you'll correct later as you paint.

Remember, with this concept it is our goal to have any painting done in one session (wet on wet). The technique is forcing you to paint fast with a constant loose rhythm, intense brush strokes and fast decision making.

Begin by building your basic color strokes foundation starting with your darkest values using the value next to value technique (refer to: Principles in painting basic realism)

Since we are not blending the painting should have a painterly effect.

Recommended colors and hues:

Burnt sienna (dark and middle tones)
Flesh tint (middle and light tones)
Naples yellow (light tones)
yellow ocher ( transitional value in between tones)
Permanent Alizarin Crimson (red) (dark tones)

Moving into Expressionism

As we approach some of the final approaches with this technique you must think about how far you want to take an approach like this one.

In here the creative process and improvisation takes place. After all your value next to value foundation, it is time to make some decisions on color application.

You can choose any colors you want as long as they are well executed. And also you are still playing with traditional color language such as warm – cool concept

The key for a good color execution is your control over color harmony or color distribution. It is really up to you how far you want to go with this technique or how abstract you want to go(don't abuse the color, you should know at which point you must stop)

Don't over due the color!!!!!!!

Color harmony or distribution is accomplished by the understanding and ability to establish foreground-background relationship where the color is concerned. (see the impressionists)

Get the best out of your contemporary portrait with a classical approach using an effective drawing economy

2009-05-07T20:53:00.001-07:00

Portrait of a model

(click on image to view steps)

Pencil on paper
Tonal-cross contour technique

For technical text steps refer back to "The power of objective observation, suggestion, and economy in drawing (the portrait)"
Here is a quick recap:
Composition
Prediction
Light gesture drawing: no erasing
Shapes
levels and angles
Location
Target point
Association
Distances
Correction: erasing
Line definition: heavier lines
Basic shading foundation
Contrast
Details

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The effectiveness of gesture drawing and the power of improvisation

2009-03-02T21:54:00.000-08:00

by Darwin Leon

Part 1

Gesture drawing or suggestion in drawing is definitely one of the most powerful tools you will ever use in your lifetime as a fine artist specially when drawing the figure.

What is gesture drawing?

This is the process of drawing quick, lightly without erasing with a constant movement and focused on the subject. The concept of gesturing is the idea of capturing in a suggestive way a sketch of what the brain has already seen. I strongly recommend this exercise in any art class in the planet and in any subject, technique or style. I must say this technique is universal and always works. I personally have found this approach of incredible benefit and developmental in my personal work for years now. For any contemporary fine artist the idea of suggesting in drawing is a powerful, effective and timeless tool.

What is suggesting?

Suggestive drawing is basically capturing a basic main idea of the subject matter in a fast and light sketch drawing.

The benefits of gesture and suggestive drawing

We can almost safely say that these two are totally related. When you are doing a gesture drawing you are basically suggesting. As any other technique in the arts, gesture drawing requires exercise and repetition. Repetition is the key for this exercise success. The benefits and advantages are endless. After repeating this exercise for a long time consistently you will notice a general improvement in your drawing skills such as observation, composition, line quality and proportions. Since you are drawing fast, the circumstances are forcing you to spend more time observing with deep concentration at the subject obsessively with a very objective approach.

Gesture drawing should be used in any situation and any subject matter, even when painting, your initial basic foundation must be done in a gesture drawing. This will save you a lot of time, you will create better compositions and it will become more productive. Gesture drawing is great for figure studies and anatomy as well as sketching on site such as landscapes scenes and still life. It is also great for decision making when drawing and a great builder of confidence as times passes. (see Draw anything and everything)

Your line definition will improve dramatically and your observation skills will step another level. You must become visually obsessive with your subject matter when gesture drawing. Also, you must read every single contour line of the figure and feel it deeply in your eyes until it reaches your mind solidly. Gesture drawing is the direct objective connection of brain-subject matter. When gesture drawing feel free to build multiple lines as you draw. In here you are mapping or brainstorming. In the process of multiple lines draw very loose. Don't waste your time trying to erase, it is not the point at this time. Also, don't concentrate in one area for a long time. The concept of drawing fast with multiple non-heavy lines will give you the flexibility of correcting as you go.

Build lines even for the angles. In this way you are already positioning your figure in the right places, angles and distances. For example, quickly draw a line to position the level position of the shoulders or clavicles and note from your point of view which one is lower and which one is higher. Same for the hip bones, feet angles and distance, and center line for the torso (upper body). Eventually your lines will evolve and you will discover more lines that will help you in the angles and positioning process. Eventually drawing will become more fun instead of an issue.

Adding shapes to your gesture drawing – the improvisation process

I strongly recommend to get into the habit of building shapes when gesture drawing. “Think shapes”. In here you wanna get creative. Gesture drawing and shapes must be married. The effect of shapes in your suggestive drawing creates a very positive result. Instead of always building just lines to achieve line contours, you want to combine it with shapes. These abstract shapes could be from an oval, circle, rectangle, triangle, etc. And the shapes must be associated with the actual forms that you are visually experiencing at the moment. Shaping could also be called massing. This is an extraordinary tool for placement, association and positioning. Along with your lines the shaping process will give you a better idea of what to look for. Not only for the human figure this applies but for anything that you see in nature like a simple apple. Again, this is a repetitive process. It takes some times until you control these shapes in combination with you gesture lines.

In here you are improvising. It is really up to you how far you wanna go with this shapes. The more shapes the more structured your figure will be. And when the time comes to correct, you already have a very strong basic foundation to work from. Remember, there is no way to correct if you don't have something. Shapes applies for everything and it is a great composition detector. When you have a figure or more than one, or multiple complex compositions there is the overall shape. This is visualizing and thinking big. The over all shape will give you the illusion of an abstract shape that encloses all the figures into one composition. For instance, some figures resembles the geometric shape of a triangle like the one showed in this post.

Here is a general basic hint list of what parts and muscles to look when gesturing, suggesting and massing:

Head (forehead, eye cavities, nasal bone, mouth, chin, high/low cheek, ears, jaw, upper/back skull, neck-sternocleidomastoid)
Shoulders (deltoids, clavicles, trapezius)
Chest (pectoralis major, sternum)
Abs (rectus abdominus)
Love handles (external oblique)
Arms (biceps, triceps, forearm extensors and flexors, forehand, fingers)
Side body( serratus anterior, latissimus dorsi)
Pelvic area – hip bones (visible gluteus medius)
Upper legs ( adductors of thigh, rectus femoris, vastus medialis, vastul external or lateralis, femur bone)
Knee (patela)
Lower legs (gastrocnemius, soleus, peroneous, tibia bone)
Feet (ankle, heel, arch, ball of foot, instep, toes)
Upper back torso ( trapezius, infraspinatus, teres minor/major, latissimus dorsi, lumbar area, external oblique, deltoid, gluteus medius/maximus)

Principles in painting basic realism – The portrait

2008-12-30T15:38:00.000-08:00

Portrait of a Bride

Tools: Oil on canvas (16 x 20) - Burnt Sienna, Yellow Ochre, Flesh Tint, Paynes Grey, Permanent Alizarin Crimson (red), Viridian Green, Zinc or Titanium White.
-Alternative hues: Yellow naples, Blue Ultramarine.
Brushes: Soft – Hard, medium – small size, and blending brush
Other tools: Turpenoid odorless, Pure Linseed oil, soft charcoal, and work fixative.
Technique: Value next to value/blending – Layering

With this demonstration the student will be able to learn and apply some basic principles when trying to accomplish realism in painting in the case of a protrait.
It is important to understand that this is not a Hyper – realistic painting. This form of painting could be considered simply as close to realism or pre/photorealism.

Realism Vs hyper realism in painting.
We can safely define realism as treatment of forms, colors, space, etc., in such a manner as to emphasize their correspondence to actuality or to ordinary visual experience.
Hyper realism or photorealism as an artistic style is characterized by highly realistic graphic representation.(This is in other words like High Definition in painting)

The practical effectiveness of this technique is the key for any artist to approach any classical or contemporary painting style even for abstraction.

Value next to value
This concept or way of painting is one of many approaches in fine arts. I personally find this technique straightforward and effective. In here we are basically making decisions on our values, color, and intensity by selecting the correct value according to lights and shadows and then establishing a relationship between values until accomplishing the desire result. Values must meet and it is OK to overlap.

First, apply a layer as your underpainting. This is a basic coat of painting on your white canvas (middle tone). Your underpainting could be done in acrylics and the colors could be any colors associated with the ones you'll be working for your portrait.
Underpaintings are essential for many reasons and uses. On of them is you don't want to paint in a total white canvas which makes difficult to identify you brighter values when painting. Many artists use the underpainting for their advantage since it is the very basic color foundation for the next layers.

As usual, our very basic foundation. This can be done on soft charcoal which becomes very flexible to manipulate and easy to erase when drawing (even with your hands).
For basic foundation refer to: The power of objective observation.

Many experienced artists skip the charcoal or pencil drawing and go straight with the brush. You can create your first initial foundation drawing with your paint brush using like a burnt sienna or grey, but no until you have enough confidence in your drawing skills.
After you initial foundation is done, apply work fixative to your charcoal drawing. (outdoors please)

Applying your first values
Burnt sienna and flesh tint: Mix these two for your first values, dark and middle darks. The more flesh tint you apply the brighter and more natural your skin will get. (Pour some linseed oil on the paint to make it more flexible and glossy, also when it comes time to blend this keeps the paint fresh) If you have an area of intense darkness, don't use black. Instead combine burnt sienna with Paynes Grey.
Remember: Your master and dominant color is the flesh tint, and you'll want to work around it.

In this process of value next to value you want to be organized and consistent with your brush strokes. And also it is important to be able to complete this first process in one day (wet on wet ) so you can blend your values on time.

I always strongly recommend to start applying your darkest and middle dark tones first (for some artists the opposite works better). I believe this gives you a more logical and strong visual skeleton and painting foundation to apply the next values. The best way is to recognize or detect your strongest shadows and place them in the right location. In here you are applying some drawing skills but with paint.

Identifying your shadows is recognizing the shape of it. So you are basically painting shapes. Your dark and middle dark tone values are (in this case) side of forehead, partial side of high and lower cheek, ear structure, eyebrows, neck, side of nose, jaw, shadow under nose, upper back

& shoulder and why not some of the hair.

Make an effort in working in the same color family to keep consistency in your hues.

Next, paint some of your middle tones and middle light tones by adding the right and necessary amount of white to the initial color you initially built. Also is a good time to apply some pink produced by white and the Crimson (red). You don't want to overwork this color and only apply it as necessary.

Then, by enhancing the amount of white to your first original color you should accomplish your light tones and your brightest bright tones. Use naples yellow as an alternate color to create a more natural skin color if desired.

At this point you should have pretty much an abstract portrait painting, and all the main tone values should be in position. If you want to you can fill in the eyes and lips to have a more complete figure. Nothing changes here you are still working value next to value, only this time on smaller details.

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Blending
As mentioned before the ideal and more effective approach will be to accomplish this first process in one day to allow blending in most of the areas of the figure.
The blending process is probably the most important aspect in this process. In here we are giving a more logical sense to the portrait. Blending values is a repetitive process, and the elegance you want to accomplish is really up to you.
You will blend your values using a blending brush (don't paint with this brush)
Blending brushes come in all sizes and they are similar to make up brushes (soft round-wide).

Begin by blending your values right where they meet (at this point you are spending a lot of time looking at your source reference). Blend your dark, middle and bright tones.
You can blend in different directions and the motion while blending must be subtle, barely touching the paint. Our mission is to establish a logical and soft relationship between values in where the transition is soft and natural. This can also be associated with Sfumato.
Once your blending brush picked up to much painting from the blending process, clean it using your turpenoid and dry it well with paper towel and then repeat the same process of blending.

It is important to fade these values in a way that you built unity in your tones.

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Layering

It will be ideal to wait until this process completely dries. It might take two or more days. At this point you should have a blended portrait including eyes and mouth.
This is a great time and opportunity apply new layers to accomplish a more natural skin color.
When layering you'll want to work with thin paint. (almost transparent) The reason for this is that you still want to keep those first layers that you blended with sienna, red, and flesh tint.
Linseed oil is very common for this process (many artist use a variety of other mediums for other purposes and intentions like liquid, galkyd, glazing mediums, etc.)
I find pure linseed oil very flexible and easy when it comes times for layering. It will make your paint thin and will allow you to work with the pre-established underlayers. (warning: don't over do linseed oil)
*Mix white and Alizarin Crimson (red) with flesh tint and start layering as necessary, this will give you a nice natural pink for the skin. Obviously the more white you add the lighter will get. Use it specially in some of the dark areas, in that way the face won't be completely brown and with a tan.
In some of the middle tones you can apply a combination of yellow ochre and flesh tint. And you can safely use a little Naples Yellow and White for your brightest bright.
Remember this is a dry on wet process, and these layers must be very thin!!!

Layering is also ideal for detailing, like the eyes, lips, ears and hair. Use a fine thin small brush for this purpose. When building hair, eyebrows or eyelashes several layers are required with meticulous details. (Just like drawing)

Green in the skin?
Yes, but not grass green. We have all kind of colors in our skin and also it depends of our ethnic background. But the most predominant are earth-ground colors, such as browns, siennas, ochres and greens. Of course we are also affected by external color reflections that could be any colors(greys, oranges, purples, blues, etc.)
We definitely have some greens in the skin, again this is something you don't want to overdo.
*Mix some paynes grey with yellow ochre and may be a little of sienna and you'll get a nice green for the skin and apply it softly as one of your final layers on the skin in the dark areas.

When layering hair, a thing brush is required. And you'll want to create natural hair. When you created your initial painting foundation for hair you set by blending a relationship between skin and hair(you don't want to make it look like a wig).

A world in the eyes

I encourage to work intensely in the eyes. This is the soul and expression of the figure. Attempt to paint the smallest detail in the eyes, from the eyeball, to the pupils, reflections from the external world and highlights. (note in this painting the reflection of the person taking the photograph)

Creating atmosphere
It is important to place your figure in a natural environment. When painting the background make sure you establish a solid relationship foreground-background. You can accomplish this by softening the edges either from the negative space or the positive and then fade the contour lines. (This work better the first day wet on wet)
When is wet on dry, use some linseed oil with very thin paint to create this effect.

At the end you want to create your figure in a natural space-environment, and not make it look like it is pasted onto the canvas.

Understanding the head's perspective – Using the creative box and cylinder

2008-12-06T18:38:00.001-08:00

Double portrait of my daughter Isabella at age two

Tools: Color pencils and toned charcoal paper(assorted tints)
Technique: Combined tonal with cross-contour shading

I find these basic tool - technique of essential significance when drawing or painting the head in perspective, in space or in foreshortening. I recommend every fine artists to understand the importance of this approach. Nothing new here, this is a technique used over many centuries ago specially in the High Renaissance Period (may be the Greeks two thousands years earlier)

Here is a book I recommend “Master Class in Figure Drawing” by Robert Hale as an alternate resource or second opinion.

Many issues associated with portraitures (or the figure in general) in art is that artists try to avoid seeing beyond reality. As a consequence of this avoidance the artist is unable to see or recognize the head position, angles and perspective.
One of the first step to correct this problem is “acceptance of reality"

Acceptance of reality
First step is understanding the nature of our subject. This is drawing what you see (refer to: The power of objective observation). Our subject presents a very specific position in space and we must accept this fact. In the prediction process as part of our composition this will be an important and effective element.

Acceptance is the ability to process what you eyes see in an objective manner.
Another way of saying this will be awareness. It is very common for artists an illustrators to draw from memory that are nor sufficiently aware of reality and not paying enough attention to the subject. Acceptance of reality is also feeling what you see. To accomplish this you must get visually intimate with the subject matter.

The box and cylinder
As part of our first step is understanding also the nature of these geometric shapes and how to associate them in relation to our figure. For the purpose of this demonstration I used two figures with two different situations.
The first one will be a semi-profile with lower angle view (the box)
The second one our subject is looking down – front angle view (The cylinder)

The box: The human skull of course is not a box. But we can safely say it has planes. These planes makes our figure a 3D SUBJECT. Planes gives us or it might give us the illusion of a three dimensional cube or box in space which you must identify at your very first drawing prediction.
(I strongly recommend to study the basics of perspective and vanishing points.
In special linear perspective.)

This box is our pre-basic foundation before the actual gesture of the head. The box must be drawn very lightly (no heavy lines), and you must be able to accomplish the position associated with the reality of our subject matter.

When positioning we must be aware of the planes. The head or skull in this case is giving us three planes which includes front, side and bottom. When you detect these planes associated with our subject and with repetition you will always find the box in any situation.
Remember, this box is for positioning purposes only, you will not depend entirely on it when it comes time for proportions.

At the beginning some artists will find this approach confusing because it is very common to go straight into the heavy lines. But this technique will save you from many problems later.

Next is our general basic foundation of the actual head. In here we are predicting the head around and in relation to the box to accomplish planes. (no heavy lines)
This gesture drawing includes face, location and position of the ear, hair, neck, chin and find center of face to record a center line for the head.

Begin shaping or massing the head with the help of shapes. In here we are going again back to previous post ( refer to: The power of objective observation).
For a quick review on this: -”Think shapes”. Shapes are a great tool for association. In the process of prediction these shapes help us see what is next to what (measuring) . You can create your own shapes according of how you see, but I strongly recommend the oval. This is a generic standard shape easy to manipulate in any size and circumstance.

At this point remember to: double verify your composition, finding a point or points of reference, and making corrections. In here negative spaces are of extreme value (refer to: The magic of negative spaces)

Understanding perspective has a lot to do with foreshortening. When something is Foreshortened the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight . In other words the lines illusion that your eyes are perceiving becomes shorter or in angles.

You are probably ready to start working on some pre-heavy lines.
Begin by erasing any unnecessary lines from the previous gesture. With the help of color pencils begin by intensifying some of the basic contour lines of the head and features of the face (burnt sienna)

Here are some of the basic colors hues to accomplish skin color with color pencils: burnt sienna, peach, yellow ocher, pink and some red.

*Using color pencils is like using regular graphite pencils, you most be aware of values. Only that this time you are dealing with some color. (fore hand pressure and support is important)

When drawing with color pencils it will be ideal(as an alternative) to use tones paper or colored paper using earthy tone colors. You don't want to abuse the color and always use some economy on it.

The Cylinder
When choosing what geometric form to use it is really up to you. Remember this is only a temporary stage to train your eyes in understanding the nature of objects in perspective when drawing or painting the figure. I find the box and cylinder valuable in any situation. For the purpose of this next demonstration I feel the use of the cylinder to be more effective. A cylinder or cylindrical form suggests movement. And some artist perhaps find this form to be more associated with the human skull. The curves and roundness of this form gives us a better visual sensation of the portrait.

In this case the figure is positioning front side – looking down. So, I am aware of this position and I also accept this reality. My best decision here is to create a cylinder associated to my subject where the main view area will be top of skull or cylinder. (head-crown area with hair)
When creating this pre-basic foundation, again we are going back to all the details mentioned before at the beginning of the post. (only this time is a cylinder)

Be always aware of distances (this is a very common issue or mistake)
In the case of perspective or foreshortening like I mention before distances and angles become shorter.
*Note in this case that the chin area is very small and top of the head is big.

The magic of Negative Spaces when drawing the portrait's (profile)

2008-11-17T16:43:00.001-08:00

Portrait of Ed Barron

Tools: 4b pencil
Technique: combined tonal shading with cross contour

Negative Spaces are perhaps your best friend and allied when drawing the figure, specially in cases of dramatic structures.

What are negative spaces?
We can safely define it as the opposite to the figure. Now, this can also be defined on different levels:
The opposite to the figure is mostly the background. The background on drawing or painting could be defined as space or environment (in other words What isn't). These abstract fellas (shapes) are produced as a consequence of figure foreground-background effect.
Negative spaces are and could be created with one single figure in relation to space, multiple figures in relation to space, and one or more figures in relation to other figures and space. (NS are also essential when drawing still life)

Our concentration is to accomplish finding those shapes created by the effect previously mentioned. These shapes are our measuring tool and association method technique.

It is important to understand that these are abstract shapes and our use is for correction of proportions, size and finding accurate distances.

For the purpose of this demonstration we'll concentrate on the portrait's profile.
When drawing the profile negative spaces will guide you in the process of successfully accomplishing the likeness and accuracy of our subject.

First, as always your very basic foundation ( refer to: The Power of Objective Observation) which include composition, finding a point or points of reference, and making corrections.
Now, in the case of the portrait's profile we have to our advantage a primary and secondary target point. As usual our primary target point in the portrait will be the nose. In here we'll be working from the right side – then out left because of the portrait position applying the same technique as mentioned in previous posts. (don't forget your universal triangle of proportions which in this case becomes more of a pyramid)

Our secondary target is the ear. And this more than anything is an alternate target point but essentially effective. The ear, once you find the right location as part of your initial and basic shapes foundation will be a guidance starting point to verify and measure elements such as distance, association and alignment.
These elements include: finding the distance from the ear position to the top of head, line of hair, left and right side of the head, and line of chin.
Also to double verify if you have the right angles use the association method using the ear as a reference point and measure your levels (for example: see the angle from the ear to the nose and verify if the level matches to the one in real life. Use you pencil to measure)

Applying the negative spaces
After you first step which include your basic foundation and all the other elements we are ready to apply our mission. Our first negative spaces will be on the actual profile of the portrait which include: forehead, nose, lips, chin and neck – shoulder. This is a great opportunity to correct our profile using the negative space from the background. In here you will spend most of the time applying the negative spaces technique and your lines should not be to heavy, your definition should be soft.

Thinking abstract negative to accomplish positive realism
Take some time and pay close attention to the contour lines produced by the negative spaces. As mentioned before the opposite form on the background will be abstract, a form non-recognizable with organic structures. This becomes a shape itself and unique. At this point and most critical point, you are double verifying that the shape created from this space matches the one from real life or reference. And at the same time you are going back to the positive figure side to verify that you are accomplishing the likeness of your figure. Feel free at this point to begin stressing more line definition on the profile, at the same time fill in with soft shading the negative space-background to make the figure stand out more. This will give you a sharper view of the work in progress that you've done and it also should be giving you a sign of likeness in relation to real life.
Also on the left side of the profile which include back of the head-skull, neck and shoulder another special negative space is produced, this one much simpler. Repeat same steps.

Founder of TFN on Carrollwood News & Tribune -"Surrealist Painter Offering Lessons"

2008-11-13T20:31:00.000-08:00

For online article: http://carrollwood2.tbo.com/content/2008/nov/12/cw-surrealist-painter-offering-lessons/

By LAURE PERICOT
The Tampa Tribune
Published: November 12, 2008
When you hear Darwin Leon talk about his art, it sounds so simple. You can feel his passion for the masters. Yet, when you see his work, it is so complex. Darwin Leon describes his art as "classical art of masters in a contemporary mode of expression".
His art combines aspects of the masters of the Renaissance with his own surreal style. Scenic images portray the nature of expressive design through the movement of action and textured aspects. With a sharp sense of humor and figurative imagination, Darwin Leon details the social context of pseudo-political, human involvement with a flair for enhanced form and characterization. Displaying the imbalances of society with a sarcastic perspective, Leon's artistic creations animate the discontinuities of the industrial order. Leon's paintings play on the interpersonal deceptions that move culture.
"My art is a reflection or mirror of life. It depicts historically aspects of humanity, social issues and representation of the times. The figure as the main character is used symbolically with a surreal flair. I include classical and traditional subject matter as a constant dominator in my paintings and drawings. My artwork also portrays the hierarchy of dominance over others as the characters display their motives. At the same time, I work to include humor as a foundation for serious commentary, so people can grasp the meaning without feeling too offended by the message".
Leon was born in 1972 in Santiago de Las Vegas a small town in Havana, Cuba. Due to political and economical crisis, he and his family left Cuba and went to Spain where they continued to the United States. He earned his Bachelors in Fine Arts degree from Miami International University of Art Design in March 2005 where he was awarded best show for the First Juried Student Show Exhibition in 2004 and first place in the Visual Arts Scholarship Award of Excellence in 2003. He was also awarded best in painting at The Art and Music Festival in 2004 Hollywood, Fla.
Darwin's first focus of style was religious portraits. However his passion seemed to be with figurative and expressionistic. He began developing the characters he drew as a child and transferred his thoughts to canvas. Along with personal experience Darwin incorporated sarcasm, satires, irony, theatrical elements and finally surrealism and cubism into his work. In some of his recent work, he is experimenting with chiaroscuro -- a master technique used by many artists during the Renaissance.
Darwin's work is fresh and alive, and the colors are radiant, dominant style surrealism, cubist-expressionism, and a mix chiaroscuro. His brilliant use of messages hidden and obvious leaves the admirer wondering while constantly discovering something new.
Leon Darwin is the founder of The Figure Network - The Complete Artist Development Seminars, an online workshop program for the fine art artists interested in taking their art to the next level (thefigurenetwork.com). He taught at the Art Centers in Miami Beach and Bradenton.
He currently teaches painting and drawing, portrait painting, still life painting, and modern modes of expression at the Carrollwood Cultural Center, 4537 Lowell Road, Carrollwood. His classes are open to everyone 13 and older.
Visit CarrollwoodCenter org or call 269-1310 for more information.
Laure Pericot, is the marketing director at the Carrollwood Cultural Center.

Founder of The Figure Network makes history at Carrollwood Cultural Center, Tampa.

2008-11-05T08:34:00.000-08:00

Article courtesy of BAY TIMES, Tampa, Fl

On the image: Finishing touches: Jerry Jones, 15, planning the completion of portrait with instructor Darwin Leon.

“Our students range from 12 months to 91 years old,” says Pericot. “Each of our instructors is a professional; the classes are taught by real artists.

”One such class, Modern Modes of Expressions, offers youth and seniors alike the opportunity to learn contemporary painting under the instruction of artist Darwin Leon, whose goal is to bring a “contemporary approach to traditional methods".

"Can you imagine having a Renaissance in Carrollwood?” Leon sums up the idea behind the center. “Anything that has to do with the arts – with creativity – is a contribution to the community. We need to encourage the arts from a very early age all the way through adulthood.” Carrollwood Cultural Center should be extremely proud; they are doing just that. Website: http://carrollwoodculturalcenter.org/

To view complete online article: http://baytimes.org/CARROLLWOODCTR.html

The power of objective observation, suggestion, and economy in drawing (the portrait)

2008-10-22T23:20:00.000-07:00

Portrait of my daughter Kamyla at age four

Tools: 6b pencil, stump blender
Technique: Tonal shading

Tone or tonal shading refers to the idea of applying values beginning from dark, middle and lights soft tones always working around the light until accomplishing your brightest bright. (refer to scale value)

First step, most important and significant step I recommend is your basic foundation.
This is a very light drawing (not hard, heavy or intense lines), gesture drawing or sketch which includes:
Composition: The ability to predict your figure or subject in large scale by pure prediction and observation in your paper space (usually 18 x 24)
-The process of prediction is a repetitive process which you'll acquire with time. It is important to spend more time looking at your subject than your drawing.
-In this process you must think big and should not concentrate in one area for too long.
-Like I said previously, your lines at this point are very light and also multiple.
-This is your very basic foundation, your skeleton or supporter of your figure. At this point you are only positioning your elements of the features including recording a center line in the face for perspective purposes.
-Positioning is the ability of suggesting every single element of the portraits in terms of shapes.
-”Think shapes”. Shapes are a great tool for association. In the process of prediction these shapes help us see what is next to what (measuring) . You can create your own shapes according of how you see, but I strongly recommend the oval. This is a generic standard shape easy to manipulate in any size and circumstance.
-Looking for effective shapes is also a repetitive process but one way is (which I think is the best one) to make connective associations. These connection are simply the light and shadow effect.
-The singles areas of light and shadows become single shapes with different values and this becomes an easy tool when finding shapes.(Example: The chin is one single shape, also the forehead, or the shape of the nose)

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Finding a point of reference (after basic foundation)
This refers to the idea of finding a working spot that will help you in the development of your drawing, a reference point or target point.
-The target point is a central starting point to build all the elements of your portrait by association.
-This target point is the nose. The nose is a great tool for positioning and establishing the rest of the features . This is the mother of all reference. This is your guide and map when developing your portrait. The nose is great for alignment, association and finding distances from one element to the next one.
-In conclusion, when you accomplish your basic foundation which is a very light contour line gesture of the head including hair, center line, line for the eyes, nose and lips, then you first draw a location for the nose. With this method you'll be working from the inside-out.

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"Making Corrections"
Second step, we have pretty much built a decent basic foundation in our portrait drawing at this point, but we haven't use any heavy, hard lines or shading of any kind.
-Also at this point all your elements of the features should be in position such as nose, eyes and eyebrows, lips, shape for the chin, area of the forehead, position of the ears and shape of the ears, hair, and neck.
-So now we are ready to make some corrections. This is a great chance for revision, objectivity and measuring our proportions.
-One common mistake is that we tend to make corrections from the very beginning without a basic foundation. This mistake will lead you to a vicious circle and frustration, plus you are also risking your composition and proportions.
-Measuring is really associating by observation (I believe there are not rules or numbers, just eye observation). In this process you are looking for distances and relation from one element to the next one. Here are some observations:
-Make sure your nose is not too long (another common mistake, I call this the Greek long nose)
-Our goal is to get as close as we can to the likeness to the figure we are drawing either from reference or life model so:
-Since we are working from the inside-out and the nose as reference, find the distance from nose to the eyes level, especially the eye lids, this must be very specific.
-Here comes an important step in reference to the nose eyes connection. Find the universal triangle of nose-eyes proportion. The triangle area must include (enclose) button center of nose to whole eyes area (may be eyebrows) and lids. With this triangle you should be able to verify-correct with almost perfect accuracy the appropriate distance/relation of eye-nose area.
-Once this triangle is created and developed, it is a great starting point for measuring other elements such as finding all the distances associated around with this triangular area like lips size, chin, size and distance of forehead, distance to the ears, high and lower cheek, hair width, lips width, size and width of neck (don't forget neck mostly comes from behind the ears)and width of nose.
-Don't panic if your portrait begins to shrink or lessen in size!!! this is very common and with practice and repetition you should overcome this issue.

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“Defining your lines and first shadows”
Third step
So far everything that we have covered is basically in relation to our basic foundation which as I mentioned before is based on multiple light lines.
-First of all, clean your drawing from all the extra lines that you don't need by erasing them.
-Also make sure you begin to render you shapes in a more realistic matter. For example, the shape of the eyes. In here you must be very specific and you must avoid drawing from memory. Eyes shape and size must be exact (also of course in relation to the whole figure). This is the maximum expression and soul of the person. (Stay away from the Egyptian eye shape)
-Line definitions bases its roots in the concept of line pressure (hard-soft) and light-shadow effect. Since we are working with tonal shading the main idea is that the line you define eventually must equal the same tone shading value (the line will vanish). Lines must be built from dark to light, thick to thing according to the lights and shadows effect. At this point your drawing should already be giving you some signs of depth and realism. It is important the elegance and consistency of your lines to achieve this effect. In addition, your lines must have a sense of rhythm and unity.
-You first shadows are really your foundation shadows. You wan to go easy on the pressure, always from dark to light. In reality at this point you are only positioning your shadows. Fill in some basic shadings, even on the hair (I recommend the one line direction method for the hair).
------------------------------------------------------------------------ “Building more shadows and the effectiveness of economy suggestion.”
Fourth step
-Economy in drawing is defined by the ability of the artist to control shading, lines (or any drawing in general) without overworking your values (like the phrase “less is more”). Especially in this kind of portrait of my daughter. Drawing a child requires softer values. At his point you are shading all the way. You must be more objective too. Also, make an effort to keep the original drawing while you are shading and keep the same structure. As a consequence you might loose the likeness of the portrait in relation to reality.
- Shading must also be elegant. And the transition or gradation from one value to the next one should be soft and consistent. Remember to always work around the light, don't draw on the lightest area (you can always erase if you need to get a brighter spot)
-while you are shading use the stump blender while you work to blend your values more naturally and realistic (make sure to clean your blender from the graphite)
-It is important to accomplish high contrast in your drawings. Don't be afraid of going dark where is dark and light where is lighter. Confidence is part of the artist development of building impacting drawings and high contrast plays an important role.

More to come...

Drawing the classical portrait by observation

2008-10-13T21:08:00.000-07:00

Drawing the portrait by observation using line-contour/one line direction

Line contour - one line direction of course it refers to the idea of drawing your shadows-values in one direction without crossing. This is one approach of many in drawing, typical of the Masters of the high renaissance period.

Anyways, here are some basic steps that I suggest when you draw the head either from reference or life by pure observation, improvisation, and prediction

Post your questions or comments for more technical reference.

http://www.thefigurenetwork.com/

Jennifer at The Figure Network Gallery

2008-10-06T21:02:00.000-07:00

The Figure Network Gallery Presents

Jennifer

By: Darwin Leon

The complete artist development workshop and Brikolodge bring you the work of a contemporary talented artist, Jennifer Jacobs. Jennifer brings you a series of self-portraits full of intensity and vibrant colors with a naive flair. In her work is easy to appreciate the different moods, feelings and emotions presented in which she successfully accomplishes her intentions. Also her cultural background in each of her paintings adds an exquisite flavor to her personal artistic lenguage.

Come and meet the artist in her opening reception:

Saturday, October 11th, 2008. From 7pm to 11pm

For more information call: 786-370-9260
or 561-374-1393
www.thefigurenetwork.com

Click on picture to see the invitation on larger scale

The Figure Network makes history with its Dynamic Human Figure class at Creative Loafing magazine, ArtCenter Manatee - Bradenton

2008-09-03T11:16:00.000-07:00

For online article: http://sarasota.creativeloafing.com/gyrobase/Content?oid=186032

Mr. or Ms. Nobody

2008-08-11T13:42:00.000-07:00

There is a model living inside you. Its name is “nobody”. It's the product of your mind or it is born from the recollection of the times you have drawn a life model or from a reference too. It is in your unconscious and it is waiting for you to materialize it into a medium. It is waiting for you to put it into action, to give it life, to improvise it, to imagine it, to give it form, to animate it. It is waiting for you to give it the art dance of life.

I am always encouraging you to draw what you see, but sometimes it is good to exercise your mind.
Be creative!!!, attempt to draw models from your head with the knowledge and recollections of memories that you can recall. (and write the muscle names next to it)
Male or female, it don't matter.
Draw what you don't see...

Another reflection from The Figure Network

The Figure Network features Linda Apriletti

2008-07-31T19:08:00.000-07:00

Colorful Strokes

Linda never stops to amaze everyone. Within her quiet personality there is music inside her. I look at her paintings and I get inspired. When she came initially to the Artcenter I was really impressed of how fast she could paint. In one class she was able to accomplish a stunning composition, an under painting, and several layers of paint with vibrant and colorful tone values. Some more details and the piece will be completely done.

Ms. Apriletti is a prolific painter and doesn't waste time once she focuses on painting. Linda has the eye of a great photographer, the intense brush strokes of a “Sargent”, and the beauty, color and craft of a “Con stable” or “Hopper”.

Her painting "Impending Storm at Deering Estate" which won 3rd Place this April at the Deering Estate Plein Air competition will be on display for the next several months in the Richmond Cottage Gallery on the Deering Estate property.
The Figure Network and I believe that Linda will establish herself among the next best leading painters of America in the upcoming years. And she will be featured in the most important art magazines.

The Figure Network is proud to have Linda Apriletti as an active participant supportive artist of the network seminars.
Best of successes!!!

Linda Apriletti upcoming show will be in November at The Figure Network Gallery as part as the second Saturdays of the month art walk in the Wynwood arts district.
For more info about Linda's work including bio, resume and most recent artwork: www.lindaapriletti.com

Images and content of the web site are provided for personal use only and may not be used in any other web site or publications without permission from Linda Apriletti

Definition of Art

2008-07-14T15:30:00.000-07:00

The Figure Network is conducting a global survey debate to decode
What is Art? according to you
Artists, students, designers, gallerists, collectors, visitors, writers, everyone post your opinions about the eternal question on this subject. Bring everyone you know to post on the blog.

Dalí: Painting and Film at The Museum of Modern Art

2008-07-07T09:58:00.000-07:00

June 29–September 15, 2008 at MoMa
Well, not much to say here. As you all know I am an obsessive follower of the Dalinian legacy. I am so glad they have this exhibit at the MoMa. I wish I could check it out. Luckily I have The Salvador Dali Museum half an hour from where I live.

From The Museum of Modern Art:
Bringing together more than 130 paintings, drawings, scenarios, and films by Salvador Dalí (1904–1989), this exhibition explores the role that cinema played in the artist's work. Both an inspiration and an outlet for experimentation, film was Dalí's passion, and cinematic vision became a model for his own work. Collaborations between Dalí and legendary filmmakers are displayed alongside his paintings and other works, illuminating the ways in which ideas, iconography, and pictorial strategies are shared and transformed across mediums. Among the provocative works on display are Un Chien andalou, a film made with Luis Buñuel, which features the notorious, almost unwatchable sequence of an eye being slit by a razor; L'Age d'Or, another collaboration with Buñuel and one of the landmarks of Surrealist film; projects undertaken in Hollywood with Alfred Hitchcock and Walt Disney; and such important paintings as The First Days of Spring and Illumined Pleasures. In conjunction with the gallery exhibition, a series of screenings in the MoMA theaters presents the classic and avant-garde motion pictures Dalí treasured, films on which he collaborated, and examples of his legacy in contemporary cinema.

More at: http://www.moma.org/exhibitions/exhibitions.php?id=5633
The Museum of Modern Art
(212) 708-9400
11 West 53 Street, between Fifth and Sixth avenuesNew York, NY 10019-5497

Also visit: http://www.salvadordalimuseum.org/home.html
June 13 – September 21, 2008
A selection of over 90 works from the permanent collection (painting, drawing, watercolors, prints and objects) representative Dalí’s various creations of the female image.

Peter Paul Rubens at The Metropolitan Museum of Art (2005)

2008-06-23T10:59:00.000-07:00

Peter Paul Rubens was no doubt a renaissance man of his own time. I am very pleased they had this exhibit back in 2005 at The Metropolitan. I strongly recommend you study the work of this Baroque versatile Flemish master, of course his paintings as well. His line drawing definition was-is stunning (and these are only his drawings) and the anatomy was exceptional.
I can personally stare at these arms and hands for the rest of my life.

From The Metropolitan Museum of Art exhibit introduction (2005)
This exhibition is the first ever devoted solely to Peter Paul Rubens as a draftsman. It spans the artist's entire career and includes examples of all the mediums he used for drawing. On view are more than one hundred of his finest and most representative studies from public and private collections in Europe, Russia, and the United States. More than thirty drawings from the world-renowned holdings of the Albertina, Vienna, form the core of the exhibition.

Peter Paul Rubens (1577–1640) was the most versatile and influential Baroque artist in northern Europe in the seventeenth century. Highly gifted and internationally oriented, the Flemish artist received commissions from almost all of Europe's major courts. His art blends the High Renaissance of Italy, with which he was familiar from an eight-year stay on the Italian peninsula, with northern realism. Having a phenomenal knowledge of classical antiquity—its art as well as its literature—he was the prototype of the pictor doctus, the intellectual artist.

Born in Siegen, Germany, Rubens spent most of his life in Antwerp, then in the Southern Netherlands. Archduke Albert and Archduchess Isabella, the rulers of the Southern Netherlands, employed him as their court painter and sought his assistance in diplomatic affairs. After Albert's death in 1621, Rubens became a close advisor to Isabella. His command of Dutch, Latin, Italian, German, and French was a great advantage during his diplomatic missions, which he always combined with painting.

More at: http://www.metmuseum.org/special/Rubens/rubens_intro.asp

Welcome - The Figure Network / an intro.

2008-06-19T08:24:00.000-07:00

Actually, this idea emerged thanks to the kindly support and encouragement from my students at the ArtCenter south Florida in Lincoln Road. After three years of teaching at the center my family and I moved on to a new life but I had to find a way of staying in touch. The Figure Network, once a month, two days, sixteen hours...perfect. A complete package was generated were all my classes were condensed in two days. I thought it was effective and after a few feedback it seemed like project with a future.

The Figure Network is a whole new art generation of artists where of course, the figure as the main actor will be explored from a very academic realistic drawing or painting to a more modern - abstract approach. The project promises to be of great benefit for all artists and art students trying to make a career with their art and a great initiative to help fulfill the artists dreams.

Here is a little about the project;

What is The Figure Network?

The figure network workshops is an educational human figure art program and artist development classes open for all the artists interested in the human figure such as fine artists, illustrators, computer animators, designers, undergraduate art students and high school art students. The program is also an ideal helpful tool for students going for a visual arts degree in painting and drawing.

The Figure Network Workshops
The Complete Artist Development Seminars by Darwin Leon
The Anatomy for the Artist sessions: (All levels welcome)

The Figure Network workshops is committed to conquer the human figure. The network believes in drawing the human figure revising classical and traditional observation methods from the great masters of the renaissance and other periods in art history to more contemporary. I will be presenting high skills anatomical points of view to the student with the purpose of transmitting fundamental and advance knowledge when drawing the human figure. The figure will be drawn from pure observation. Short and long poses will be provided. The workshop is committed to present complete visual and textual anatomical reference as well as illustrations of the figure in any given situation. All anatomical reference is based on valuable research and revision from a variety of resources which becomes accessible and straightforward for the practical everyday active figure artist.

Draw anything and everything

2008-06-18T10:41:00.000-07:00

-Attempt to draw anything and everything.
-Drawing is that link between your mind and the medium.
-You should draw everyday, at least five minutes of your routine time.
-Draw from the most boring subject matter like that wall corner in your house to the most beautiful still life, landscape or human figure in this planet.
-Draw nature, draw from observation, draw from your head.
-Drawing helps you in the discovery of your own artistic voice. It also refines your craft and quality, and eventually it becomes an extraordinary tool when painting.
-Drawing activates the creative process.
-It helps you in the process, investigation and development of your own style.
-Drawing creates confidence.
-It teaches you to be objective.
-It imitates Art as an evolution process.
-When drawing get intimate with that object or subject matter in front of you.
-With your eyes read with obsession every line contour and transfer it onto your medium.
-Repetition in drawing rewards you with and exquisite line form.
-Be elegant in your line, be wild, be honest.
-Drawing is the best dancer in art.
-Drawing is a mirror of yourself. Your line quality and mystery of it becomes a reflection of your soul.
-Be intense, be objective, be subjective.
-Drawing is like a lying detector, it will eventuality reflect in your paintings.
-Historically the Art world always admired a good draftsmanship.
-Drawing and painting should be married as the perfect couple in perfect harmony.
-Drawing improves your technique step to other mediums.
-Drawing creates and intellect.
-Drawing is the first step in understanding Universal Beauty.
-Try improvising in drawing, take risks, work from accidents, be high critical.
-Let the line drawing take you to places beyond what you imagine.
-Draw realistic, draw abstract.
-Draw square, draw organic.
-Drawing helps you in the process of decision making and in your initial predictions.
-Don't let the pencil take control of you, you take control of the pencil.
-Draw in different directions, forms, and sizes.
-Draw with passion
-Drawing is the key to the many doors of your soul.
-Draw what you see.
-Draw what you don't see.
-Drawing is everything...
-Drawing is the beginning.
Did I mention...don't forget to draw