Do You Draw Then Paint
by Vincent Giarrano
On occasion, or if I feel the need, I'll practise a cartoon report for my painting. I detect it can assistance make the last painting stronger in a number of ways. Afterwards all, when you paint you're not cartoon with the brush, you're using the skills yous have from drawing to accurately assess the shape you're seeing and and then put that shape downwardly in paint. A study is also about planning. The more you exercise before starting your painting, the improve adventure you'll have for creating a successful work.
Getting Familiar
OK, you know your subject. Nonetheless, what you really demand is to understand the cartoon information you're faced with. That means getting the proportions and shapes of what you're seeing, accurately and objectively. It's similar meeting someone new; aye, y'all know people only you don't know this person. One thing you can do is squint your eyes, it simplifies your subject and lets you see it more as shapes. Another affair you tin can exercise is pretend you lot don't know anything about your subject and remember of it every bit simply a series of interlocking shapes.
In my drawing, because of the pose, I saw that the effigy had unusual shapes, especially around the pelvic area. I as well plant the upper body had very little anatomical information. Therefore, I knew I had to get certain things correct for information technology to brand sense—like the small-scale piece of her face, her hand, her left leg and the draping of her clothes.
Composing and Concept
The composition you choose is a huge part of your painting, then getting that to piece of work before painting is an obvious plus. Once once more, yous're getting to know your subject, just this fourth dimension finding the bending of view and the arrangement that are the strongest. You could fifty-fifty do a few thumbnail sketches to discover the best. At the same time, retrieve about your concept – what your discipline ways to you, what it'south maxim and how the composition plays into that.
I decided I wanted a strong horizontal composition to echo the reclining effigy and lines of the couch. My concept became well-nigh presenting a moment in daily life, something unguarded, quiet and sincere. I cropped it to requite the feeling of more existing beyond the borders.
Value
The swell thing about cartoon is there's no color, so it isolates value perfectly. Knowing the value range of your subject is a great assistance to your painting; information technology's the basis for describing the forms you run across.
The central thing for me was using value to turn her effigy. I really need the feeling of dimension in the subject.
More than Planning
Other things that you tin can piece of work out with your cartoon are edges and finding your focal points. Deciding where your difficult, soft or lost edges are will assist for when you lot're painting. I think near how I want the viewer's eye to move across the painting. Hard edges attract the eye, soft ones let the eye pass over easily.
Focal points tie in with your concept and composition. Think most what y'all want the viewer to notice virtually (Primary Focal Point) and what other things will grab their eye next (Secondary Focal Points). Degree of resolve is also part of focal points, tightly painted things will concenter the center and I enjoy having parts of the painting every bit loose, nigh abstract shapes of color.
My primary focal point is her mid-section, I loved the draping in her shirt and her exposed waistline. For secondary focal points I have the embroidered sleeve and her head. I purposely left her foot loose because I didn't want it to compete for attention.
Artist Bio
"I started drawing at an early on age, 8 or 9," says Vincent Giarrano, reflecting upon his long career every bit a painter and every bit an illustrator for DC and Marvel comic books. "Past age 12, it was all I wanted to do." He received a bachelor of fine arts degree from the Land University of New York at Buffalo in 1982 and a master of fine arts degree at Syracuse University in 1985. Amongst other honors, Giarrano was a finalist in The Artist's Magazine'south 25th Annual Contest in 2010, and he has participated in a number of juried shows in Connecticut, California, New York and Texas. He resides and works in Washington Depot, a small town in the foothills of the Berkshire Mountains in Connecticut. To meet more of Giarrano's paintings, go to www.giarrano.com.
More Information
To meet a step-past-step demo and read more than about Giarrano's procedure, download a digital version of The Creative person'due south Magazine's October 2011 event past clicking here.
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