When I was searching the internet for information about classical drawing (particularly the three crayons technique) I came across a syllabus for classical drawing at the University of Notre Dame. It was(is) for the course ”Advanced Classical Drawing” held by Professor David Mayernik. In the syllabus I could find a list of artists from the classical tradition of drawing. That is where I learned about Tiepolo.
The kind Professor pointed me to still some more old masters to study and I have now studymaterial for years to come. Thank you David!
Tiepolo, I find, has a wonderful sence of composition and he can state it so clearly with his simple, yet effective, ink washes. Many of his drawings have this balance between values too and they interact with the overall composition in a subtle way, moving the eye around and not leading the eye astray.
Well, Watteau, of course is the man to copy in the ”aux trois crayons” technique. I always thougth this was a nice drawing and that it was executed quickly to catch the pose. But when I tried to copy it I also realized what a good eye he must have had. When I think about that he used three crayons for these quick studies it makes me admire him.
Now there is a few old masters to choose from when it comes to ”trois crayons”. I chose Reni since I am looking at his work right now and I thought this piece was less intimidating since there was just a few hints of white and red in the photo I got of the original work.
This is a starting point and of course there is other masters more well known for this technique, Watteau comes to mind for example. For now I am happy with this ”test of the water” so to speak and will find another more typical trois crayons next time around.
I thought I better leave the ink drawing studies for a while and practise some crayons and pencil. All to get setup for learning the three crayon technique. Hopefully that will not be to far off in the future.
I left out the scribble that was in the original which I suspect was measurements for a possible future cast making.
Trying to keep the pace up for a change I discovered this wondrous kind of drawing technique that Canaletto used in his day. I put in the ink drawing first and after that i start doing washes with blue. This dissolves some of the lines. At choice places you can restate the lines either on wet surface or when it is dry for different effects. It is a powerful way to create debth.
The possibilities that lies in the ink linedrawing combined with a wash is amazing. To me one of the masters of that technique is Rembrandt. I keep coming back to his landscapedrawings with those delicate washes showing the balance of values and how he sets the mood to the scene with a few brushstrokes.
I will do more inkdrawings since there is alot to learn from it and it can be a quick and powerful tool when doing prepatory studies for any painting. I will have to try a few different inks to see which ones that works the best for washes, preferebly some deep brown that could resemble the original. I will have to do some researching and see what is out there.
It has been a while since I draw anything so I just started out testing the blue paper with charcoal and chalk. I think I need to get back to drawing more regularly to keep up the eye hand coordination. I think I will alternate between chalk and charcoal and inkdrawing.
Watch out these fugitives are notoriously difficult to handle and extremely hard to capture.
They are also known as – Value and Form.
Isn’t it grand to get a request of putting up some old work
Here is a pencil drawing from 2010
Here is another one done in charcoal
Okay, time to study landscape. I found an old bridge that was looking kind of intriguing. It was done with pencil in the sketchbook and was mainly done to try to handle the values.
The ultimate goal would be to do studies like this in watercolor but I am not ready to cross that bridge just yet.