Richard Nelson OPA

I believe Richard Schmid said that most problems with paintings are due to drawing.  Most of us start out drawing but often, as we begin painting, we don’t circle back to drawing much.

I was fortunate to study drawing principles, such as perspective and anatomy, in art school in the ’80s in Detroit, Michigan.  However once I began painting a lot, I did not draw much and even began to feel that drawing was becoming a weakness I could mask with the occasional lucky shape, splashy brushwork and such. 

Fortunately, I was asked to do a series of charcoal portraits around 2007, and since then have done about a thousand of them! These have helped me to regain some confidence in drawing. They are usually done from my own photos, which I set up as though the person is sitting near.

This brings me back to Richard Schmid’s point. I think what he meant is that very often what is required to “bring a painting home” is accurate drawing, along with excellent values, color, brushwork, etc. 

It is confidence in drawing which helps to capture details that can really help elevate a painting. Richard Schmid was very accurate in his “drawing” of things like leaves or other details in his work, even if they were supporting characters in the overall composition.

To be clear, to me drawing is getting accurate shapes in my work. I’m not interested in minute detail of rendering every eyelash or thread or leaf or whatever.  I try to continue improving shapes throughout the drawing or painting process. I don’t “get a perfect drawing” and then fill in between the lines.

As you can see in the comparison of the block in photos and the final paintings below, it is drawing that helps to “bring home” the finished paintings; placing the shapes of the head and background, features, highlights and such correctly. This makes for a decent result at our three hour, Wednesday Night Head Study group. (We’ve been getting friends and neighbors to sit for us most Wednesdays since 2013!)

If you’re feeling like you’ve lost touch with drawing skills, or would like to improve them, you might consider joining or starting a drawing class, drawing some still life subjects, or drawing your own face in the mirror. 

It may be necessary to revisit basic perspective or anatomy to understand our subjects, so that we can render them with confidence. For the figure, I like Andrew Loomis’ Figure Drawing For All It’s Worth, and there’s no shortage of information out there about basic one, two and three point perspective so that we understand things like eye level, vanishing points, ellipses etc.

I believe Norman Rockwell said his ability to draw was a little gift that he always had in his pocket that enabled him to pursue all of his ideas. It’s good to think of strong drawing skills as we draw or paint as our friend and ally, and not a weakness that we can somehow avoid for the rest of our days.

This is an exciting time!

It seems like more people are spending money again. There are more artists than ever doing really fine work. There are more people studying painting than ever before. There are more competitions, associations, seminars, etc than ever. Clearly the internet and social media have made it possible to see more art and informational posts than ever before. And there’s a huge range of educational options, from workshops to longer-term programs or classes to universities, ateliers, art schools etc. Of course nothing beats seeing art in person so there will always be galleries, museums, studio visits and private collections. In terms of sales, good salespeople and other ‘connectors’ will always be worth their weight in gold as they somehow help unite artists with patrons.
So as artists we have unprecedented opportunities but can sometimes feel lost in a sea of choices with thousands of other talented artists. While we each have our strengths, we are impressed and sometimes a bit intimidated when we see other people doing amazing things. It seems that the best way forward is to take a look at what excites us the most and determine how to keep on that path, always working on building our skills as artists and communicators with the rest of the world.
To borrow from the popular TV commercial, thank you Captain Obvious. Like everything with art (and life) it’s just way more complex than simple observations can sum up. Some of us need to provide for our families and so are tempted to continue doing what has put food on the table, and are hesitant to break out in a new direction. Some of us feel great about our work but struggle to reach a broader audience. Some of us have to carve out time to work because we have non-art jobs or responsibilities. Some of us feel that no matter how hard we work we can never get close to the work being done by giants of the past and present. We may feel all of these things and many others too.
When anxiety and confusion well up in me I sometimes go ‘small’ and ‘large’. Small, as in it is a miracle that molecules came together to construct this amazing world, and us, with our minds, eyes, hands, hearts etc.

One of my favorite things is having an artist’s group which meets regularly. While most of us spend a lot of time alone creating art, nearly everyone is a social creature too. We naturally benefit from being around others. It’s also a great way to help newcomers, and even old timers will pick up new things, if it’s just how to use Pandora!
I am a member of the Oil Painters of America, the Portrait Society of America, and other professional groups, and these are terrific organizations. It’s so fantastic participating in their events and competitions. I am also in the Plein Air Painters of the South East (PAPSE), and these wonderful artists meet for painting events a few times a year. These are all such learning opportunities!

But my point here is that belonging to or starting a group that meets weekly or thereabouts can be of tremendous value. In college, and just after, I drew and painted at Detroit’s Scarab Club a few nights a week, and on some Saturdays. I cannot express all I learned about a wide range of subjects while developing my skills. I also continued to take classes after graduation, and then teach, which can be other ways to do what I’m suggesting, although usually for a more finite period. One of the most basic lessons is that MUCH OF LIFE IS JUST SHOWING UP! This cannot be overstated.

How we got “a head”

In January 2015 we started the Wednesday Night Head Study session at our local arts organization; Tryon Painters And Sculptors. We live in a small town, but it as been easy and fun asking folks to sit for three hours while we paint or draw them. We are thinking of starting a landscape group. If we had a larger population to draw on we would love to start a figure session. If something you would like doesn’t exist near you, start it up! Then you have the added benefit of deciding on what the focus is, when it happens, how long, how much etc. Hopefully you will soon have partners who can run the show when you can’t be there.
Do I always feel like procuring a model and going to paint on Wednesday night from 7-10? Not so much. But like other forms of exercise, I’m always glad I went, even if my painting or drawing turned out poorly. Besides the obvious improvement to our skills and increased confidence from the extra hours working from life, there are other benefits such as the comradarie of the regular members of the group, getting to know those who sit for you better, and it’s not surprising to sell or give some of the work you generate, or get commissions for other work as a direct or indirect result of these endeavors. In fact as I write this I’ve just learned that my head study of Remy has been accepted into the OPA 2016 Salon!
We always have to stress to our sitters that they don’t have to stay frozen for three hours! We explain that they find a comfortable pose, and that it’s important they are able to get back into it after taking whatever breaks they find reasonable. We reassure the models that they’re doing a great job and usually everyone has a fine time. We each contribute $10 and split it between the sitter and the facility.

If it’s not possible for you to have a group like this, you can commit to working from life regularly in many ways. Doing self-portraits in the mirror is a terrific exercise. Surely there are people in your life who would sit for you and perhaps even pose figuratively. Painting still life, landscape and interiors are also great ways to work from life.

PS- if you would like a solid, somewhat simplified approach to human anatomy for the artist, check out Andrew Loomis’ ‘Figure Drawing For All It’s Worth’. Luckily it’s been beautifully reissued and is not expensive.