Quotes on Art, Drawing and Painting
A picture is worth a thousand words.— Napoleon Bonaparte (1769 – 1821)
- May 2021
- April 2020
- January 2020
- November 2019
- June 2017
- May 2017
- April 2017
- March 2017
- December 2016
- September 2016
- August 2016
- October 2015
- April 2015
- July 2014
- July 2013
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- September 2012
- July 2012
- April 2012
- February 2012
- January 2012
- December 2011
- November 2011
- September 2011
- July 2011
- June 2011
Recent Blog Posts
Colleges, Schools and Universities contact me here:
Category Archives: MAMO Class Images
Below are several examples of digital work made from observational drawings. Students from the 3D Animation (games) course at Middlesex Uni are encouraged to draw from observation as to develop a unique voice and that is where I come in. As a result the idea of combining observed drawing with digital tech has taken my interest.
I teach at several courses at several institutions including the NFTS (National Film School), RCA (Royal College of Art), Middlesex and Kingston. The areas of study are animation, game design, illustration and so on.
Below are several examples of personal (videos from Tilt) and student work that combines digital and observational drawing.
The following videos show my first attempts at using Tilt Brush in VR. They are memory drawings from previous sketchbook images I have made while drawing around London. Below the videos are several stills from them. This of course has huge potential due to the flow of marks and illusion of space that can be achieved.
Some stills from the videos that show the pull of space and imitation of brush marks. Also how, with Tilt Brush, flat linear drawing can be sculptual and create three dimensional forms.
Images showing VR pre vis for a sculpture. The sculpture was a hand drawn image to begin with that was made in ZBrush. Digital tech such as ZBrush and Tilt allow for the organic feel of human touch to be retained. Something that I have noticed in the past was missing or not negotiable for most animators/painters/illustrators and such. This has changed with the advent of Oculus. Artists and designers feel liberated.
Torso sculptures in ZBrush from a 3 hour drawing session. 1.5 hours spent in the life drawing studio drawing the figure followed by 1.5 hours in ZBrush. This time limitation really pushed the students to go with it, to let go of pre conceived ideas and as a result these strange, energetic human forms appeared based on their experience and memory of drawing from the figure.
Again the same idea was used to approach head drawing. Unique characters appear through methodologies of drawing in combination with software.
When the software allows the individual to work freely, when their minds are allowed to play and move – new ideas are generated. The issue with ZBrush is its complexity where as Oclulus and image making software in Oculus such as tilt Brush, Quill and Medium allows for a much greater freedom, not just because these pieces of software are easy to navigate but also the freedom of expression and movement combined with the feeling they allow through an illusory space.
In the summer of 2016 Paul Smith at Ogilvy invited me to Detroit to run a found art class based on the ideas of Marcel Duchamp, Robert Rauschenberg and Ai Weiwei.
I had to develop a method and approach that enthused the delegates, convincing them that they were artists and as artists they could see the world and the objects in it in different ways. How do you become and artist? You just declare yourself one and decide to move about the world around you more intensely.
Faced with Motor City at a time when it is broken, when junk is strewn everywhere; how could they reclaim these discarded objects? Raise them up, find meaning and show them to us in a new light?
This was the most challenging but also the most successful project I have taken on. As usual Paul Smith pushed me to my limits and thus my outlook on what is possible, not just in the students but myself.
RCA Printed Textiles asked me to run a series of workshops, over four sessions, to help the students engage in drawing and step away from the computer as the main design tool.
In this short space of time we covered line, tone and expressive colour (via drawing from paintings at the Tate Britain Hockney show) before finally applying these ideas to repeat pattern. The aim to take the results of the life drawing room and plug them into studio practice.
These are a few images from the 1st years in the RCA Printed Textiles course. Colour theory, instinctive drawing or as Roy Oxlade might have called it ”real drawing”. We had very little time to cover many bases and these are a few of the drawings produced with the Nat Gal security on their backs or rain clouds bursting over head
Here are a selection of images from two classes I ran for Ogilvy in Las Vegas in March this year. The group was made up of people from various areas of expertise, not all were from creative or arts backgrounds. Through various methods, within the framing of a life drawing class and later and class based on the drawings and approaches of Degas and Toulouse-Lautrec, delegates were encouraged to let accidents happen and make mistakes with the view that this type of thinking in regard the creative process leads to ”good” drawings. This was set within a framework of simple rules and goals that when making the drawings mitigated the risk of failure and unlocked and tapped into creative thinking and image making in each delegate, allowing for new experiences, discoveries and outcomes. Thanks to all who came.
This exercise allowed for students to study a A1 copy of a famous painting and apply the things they saw and felt from producing a copy of the A1 painting (composition, light, dynamics etc) to the posed figure. Thanks to all who came to the classes, it was great fun.