Custode || Figure Drawing

They Can’t Take Art Away ©

2010-06-07T21:02:00.000-07:00

They Can’t Take Art Away ©
by Fiore Custode

No one can take Art away from anyone. Creativity is natural to all of us. It’s like breathing fresh air. All we have to do is “do it” - like children do.

”Children are the best artists because they express their truths without concern for “The Selling” of art or what corporations use art for in their commercial endeavors.
And probably no one needs to be taught ART; it’s a natural act.

Art schools like the Rembrandt School in Amsterdam, or the Venetian schools taught technique, to prepare them for “patronage,” and their genius came forward in doing so.
But they were artists in spite of those things because they were creative people.

All art movements were influenced by, and tended to follow the agendas or of the times that they lived in. Art movements often followed the dictates of the Church, The State, Noblemen, Political Climate, Wars, Prosperity, Social Affluence, Commerce, Society, and the visual concepts of important innovators and genius’. Children need “None of that.”

It’s important to teach Art history to Children just as it is to teach World History. But put simply, teachers ought give children a period of time every day to paint, draw, or sculpt. The Children will do the rest…they’ll create ART, because Humans love to imagine, create, and make things that they can look at and say,” I loved making art.”

To say that we need to “teach” art to children is like saying we need to “Teach children to breathe.” As teachers, we need to keep children inspired, offer them time to create, take them to nature, and give them paper, color, and clay. They will astound us with what we grown-ups have forgotten to see, and express.

Victoria

2010-04-08T18:27:00.001-07:00

Rembrandt Copy

2010-04-08T18:25:00.000-07:00

2009-10-07T19:19:00.000-07:00

Pink Dancer

2009-09-07T18:36:00.000-07:00

Yet another great piece by F. Custode :

2009-06-05T23:56:00.000-07:00

agatha.jpg

2009-06-05T23:53:00.000-07:00

agatha bas

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/Users/laptop/Desktop/Agatha.jpg

2009-06-02T06:18:00.000-07:00

I apologize for the un-edited paragraph that preceded the draft below, on Collins' work. This version replaces that draft.
Think You, Fiore Custode

Considering Figure Composition in Jacob Collin's work: By Fiore Custode

In looking at Jacob Collins' figure painting, there's no doubt that He plans his compositions carefully, giving much thought to the patterns of light and shade, and the position of "forms" of the figure. The immaculate cloth is heavenly, and the subtle values that describe the form are almost infallible. However, there seems to be no doubt that the rendition of the figure is more important to him than the expression of model’s humanity. Collins doesn't quite reach the "exquisite plane " of Bougureau's angelic softness in the flesh, and doesn't depart too much from what we expect in a good photograph. The narrative (theme) or subject of figure expression is missing in Collins' work, which leaves us simply with a fantastic "renditional skill, which becomes the subject of his work.
Fiore Custode

2009-06-02T06:00:00.000-07:00

Considering Figure Composition in Jacob Collin's work: By Fiore Custode

In looking at Jacob Collins' figure painting, there's no oubt that He plans his compositions carefully, giving much thought to the patterns of light and shade, and the position of "forms" of the figure. The imaculate cloth is heavenly, and the subtle vlues that decsribe the form is almost infallable. However, there seems to be no doubt that the rendition of the figue is more imortant to him than he expression of model's humanity. Collins doesn't quite reach the "exqisite plane " of Bogureeau's angelic softness in the flesh, and doesn't depart too much from what we expect in a good photgraph. The narrative (theme) or subject of figure expression is missing in Collins' work, which leaves us simply with a fantatic "renditional skill, which becomes the subject of his work.
Fiore Custode

2008-12-03T20:07:00.000-08:00

Thanks Tyler,

Your posting on the Figure blog of James Jean is awsome. And thank you for continuing the dialogue.
If I may, I have an opinion on your question "Using Digital Technology for creating Artwork."
If one can draw, paint, and think, then the digital world is just another tool of many tools - that an artist my use to create Art. I I like the idea of drawing and composing on paper first, and then scanning to Photoshop for the finish. It's a good way to go. Actually, traditional drawing is faster, but then Technologhy can be used to elaborate on the original, or for other visual options.

However, if one beliees that drawing and paining may be circumvented by technology, they're kiding themslves. That's why it's important to invest in Art training - like we offer at Ringling. Then the world of Tchnology, or any other tool, is just an extension of creativity. Art is the source- tools are the applicaions.

Thanks Tyler for the insprational question.

Looking forward to other folk's opinions here on the blog.

F.Custode
December 3rd, 2008

g'day!

2008-12-01T18:43:00.000-08:00

hope all is well with everyone, staying busy i hope!!

heres some of my few figure works i wanted to drop off from the past two weeks;

it feels like the end of the semester has been prowling in the bushes waiting to pounce! its just about over !!

i'm not sure how i feel about changing figure teachers already, i'm definitely indifferent about it - we'll see how it pans out though, its been a privilege and a delight to be involved with custodes albeit odd (and always hilarious) - but very powerful teaching methods! i look forward to seeing him again in advanced figure!

cheers,
tyler

Saw some pretty good drawing today!!

2008-11-20T08:57:00.001-08:00

Some good drawing vibes going on in class today yall!

stopped by the library and scanned mine in for a quick experiment in photoshop - just a light tone overlay - im more pleased with it in this state than before, there were a lot of issues i keep fighting myself with whenever i do a graphite drawing - sometimes i just want to dig into the paper and throw some darker values in but i hold back and do more of a softer touch.

anyway, heres a question some of yall might want to throw some input in; How do you feel about using digital to enhance your drawings? Do you find it to be a useful tool, or do you rather fix everything traditionally?

that question has been hovering over my head a lot lately and i'm kind of indifferent about it. . . i feel its a - good - tool to use, but should never be used as a canvas to start a piece with, but thats just my opinion?

cheers,
tyler

"the king"

2008-11-19T19:14:00.000-08:00

james jean, who im pretty confident to say is leading the illustration game at the moment - started somewhere too, he's worked hard to get where he's at, and contrary to belief, him being asian has nothing to do with it (but it helps)!

i keep going back to his gesture sketches and arcylic/ink figure studies - theyre BANANAS!!

here's a few from http://www.jjeanius.net

like custode said, the way he captures 'movement' is practically impeccable!

^(my favorite)

and as custode said, the way he handles the arbitrary color is just so fresh looking to me!

check out more of his work at http://www.jamesjean.com and be sure to stop by his blog to see how he handles his illustrations!

cheers,
tyler

2008-11-18T04:25:00.000-08:00

Hi Tyler,

Thanks for sending me the "Jean" art.

I didn't as yet see the acrylic wash paintings; He sure is uninhibited in using color. I call that "Arbitrary Color," where the color departs from the natural tones of the skin, and the image takes on whatever color the artist wants to emphasize - arbitrarily.

In the hand of the man, the values don't hold well but he uses color to show the changes in plane direction. But they 're very inspiring, and you should try to "break out" with color if you’d like to try that way of seeing - for a while.

I did see the figures when I Googled Jean's site. Boy, he can really show "movement" in the figure. Our students ought to copy one or two of Jean's gestures...they'll learn to have figures move.

Please Consider posting Jean' swork on the Figure bog!

My Best,

F.Custode

Favorite Media

2008-11-12T17:02:00.001-08:00

I believe media has a major influence in how art turns out. I feel, and I'm using myself as an example, artists create better works of art when they are interested in their subject and their media. I absolutely HATE charcoal and Conte` Crayon, and I'm sure all of you know this, but when I use ink, pencil, or watercolor I really enjoy my art. I've had a few good charcoal and conte` drawings during class, but I'm more comfortable with wet media, therefor I take more risks and I'm more satisfied with the outcome. I also feel a lot of my better pieces were done in my favorite media.

Don't get me wrong, though, I am open to trying new things every now and then. I guess I'm just one of those weird people who hates getting their hands dirty.

2008-11-12T11:36:00.000-08:00

If I had to guess, I'd say a person's favorite media is their favorite for a reason. They probably feel successful with it or get good feedback about it. Even if they completely blow at using a media but still favor it, they'll use it more often and become a pro. Plus, they'd be excited about using the media and really work hard on their work and that's that friends.

Recent...

2008-11-10T17:58:00.001-08:00

I thought I'd share some more of my work from the last two classes.

This one was from today (Nov. 10). We were drawing the clothed figure. I decided to do a drawing more stylized after two previous drawings of the same model. I like how it turned out besides the arm/hand (the proportion problem is totally noticeable blaaah). I'm getting there though... It's charcoal and marker.

As for drawing the clothed figure, I find it a bit challenging (which is good) and a tad less enjoyable... for me. I really like drawing the nude and structuring the body. I don't really like when so much of the body is hidden. Although, for the sake of becoming a better artist, I hope that we get to draw more clothed figures. Practice practice...

Anyway, these are some gestures from Nov. 6. I'm pretty proud of these. I used a brush-pen.

To answer the question about how media inspires you... I think that media does make all the difference. For instance, my figure work in charcoal isn't as pleasing to me as my work in ink. It's not that enjoyable to me either because I struggle with it. I know that I have to keep at it because that's the only way I'll get better with charcoal. But yes, I think your choice of media does have an impact on your work. If you enjoy watercolor or ink and have a facility for it, your work will be better.

-Ashley

a couple new figure works!

2008-11-08T12:41:00.000-08:00

these are from thursday, nov 6th;

was pretty happy with how these came out, the first one i threw into photoshop and played around with some levels, and the second are 5min gestures. all done with watercolor.

anyway, to answer the question custode brought up about media; "How does the "choice of media" make a difference in drawing the figure successfully?"

i think the choice of media is important, but should never be limited - as long as it can produce the 4 key values anything is fair game to my eyes!

i think it all comes down to the artist though. what one person could excel at the other could fail miserably at - however, i think it's super important for people to always be trying new things(styles, media, etc).

if you limit your potential as an artist you'll never get anywhere, and who knows - something you once thought you'd never be good at but never tried, could be that one medium you'll be recognized for as an artist!

cheers,
tyler

Media Discussion : How important is the choice of media in creating figure art?

2008-11-06T18:17:00.000-08:00

Discussion for week of Novmber 13th.

How does the "choice of media" make a difference in drawing the figure successfully?

Submitted by F.Custode-Faculty Figure IL 221

great response!

2008-11-06T06:43:00.001-08:00

The Blog is looking good, and shows great input.

Thanks, F.Custode

M.Cruz's Gestures

2008-11-06T00:22:00.001-08:00

Here is a compilation of a few 2-3 minute gestures. Still need to keep practicing to get the proportions accurate and such. I don't really have a 'good' long poses at the moment, but hopefully through out the semester I'll be able to get one up that I'm proud of.
Since the knowledge of anatomy and capturing human emotions can be a vital tool for an illustrator, studying the figure is really important in our career. I think it helps illustrators visually communicate on a more intimate level. If a figure in a painting is wrongly proportional unintentionally, viewers aren't going to connect with the piece.

-Michelle Cruz

Figure Works

2008-11-05T22:30:00.000-08:00

In a way, I'm very surprised that we didn't use charcoal till about mid to end semester. Because, all of freshman year that's all we used (with slight integration of contè). In a way I think that gives us a head start vs. all the other classes where I see my friends just doing charcoal. Variety is always nice.
Drawing the figure in different medias I think forces us to look at the figure in many different ways. Sometimes we have to look at it in just blocks of shadows others we have to look into the shadows to see light. With that, depicting the figure and being able to experiment will come much easier for us.
Figure drawing itself is one of the most important things we'll ever learn. Not only just drawing the figure, but perceiving the figure is the biggest challenge. As Custode says, "In this class I'm here to teach you how to see not copy the figure...". Which, I think thats what drawing the figure should be about.
Perception.
Here are some of the recent Charcoal drawings:

hey guys

2008-11-05T21:22:00.000-08:00

Hey it's Kristen.
Here's some of my stuff!

One of my first drawings in conte, learning the half lights and half darks.

Charcoal, but using mostly shapes.

Watercolor. I really enjoyed doing these.

Quick sketchy gestures which are pretty fun.

Eyes from my sketchbook. I had lots of different reference, and it was cool drawing all of them :)

So I took figure class for maybe 2 years in high school ( I went to an art magnet school called New World in Miami). I started as a freshman, and got progressively better and there were plenty of successes and failures. My teacher told me to just draw and to focus on the hands, feet and face. I don't remember learning the fundamentals (like drawing from the inside out or the 4 basic shades) and I never seemed to get any better. I'm glad Custode has implemented those things into the curriculum because I've seen improvement. After a week of class, I felt like I had learned so much, even if I did have experience drawing the figure before.

To answer the question we got in class, learning figure for a career in illustration is necessary because you have to learn the basics before you can continue on. The human figure is one of the hardest things anyone can draw, and once you conquer that, you can do anything! It's also like skateboarding; you need to learn how to skate before you can do tricks. As in once you know how the body is set up, it's easier to explore distorting it or stylizing it. Picasso was an amazing realistic renderer, but then he decided to do abstract art and explore the body in different ways. Learning how to draw the figure now will definitely benefit us in the future.

Have a goodnight everyone! :)

Anne Gale and Lucien Freud

2008-11-05T20:35:00.000-08:00

Anne Gale and Lucien Freud are two of my favorite artists, because they interpret the figure in a way that is representational but compelling by their handling of media.

Two pieces by me

My Contribution

2008-11-05T18:17:00.000-08:00

As the title says...

These were some five minute gestures from 11/3/08. I really like working inside my small sketchbook. I carry this sketchbook around and use it every day. I always want to put my better work in my sketchbook. I also love using pen and ink. I like working loosely and quickly. I just really love gestures.

I like how on gesture days we can use any media we want. I do think that long pose days should be in charcoal, however. It's important that the longer poses should be done that way. I know I definitely need to work on longer charcoal studies.

Here are some journal sketches...
I really like how the ears came out. I think it's my best work in my journal. I'm not very good at graphite rendering... I'm still trying to get better and better at it...
... and my self-portrait. I think it turned out pretty well considering I can't really draw myself... and that it's in graphite. I know I'm improving with portraits and that makes me happy :)

-Ashley

2008-11-05T17:21:00.000-08:00

Its been a couple of months since we started studying figure
with Prof. Custode. He has taught us different techniques
that involve charcoal, watercolor or ink. It is a very enjoyable
experience to wake up during the morning and draw the human
figure. Custode's is an interesting character himself. It is impossible
to predict what he is going to say in class and his demos are really
interesting to watch.
It is mandatory for us to keep a journal with studies of specific
body parts. This is probably one element of the class that will
help us grow faster as artists.
I believe that studying the human figure for the us
in Illustration is very important. Drawing a human figure
makes what we are trying to convey in our image
more human, and we are trying to communicate to a
human person of course.

Blog Postage - Rachel Wolfe

2008-11-05T17:05:00.000-08:00

Hey Guys, I suppose It's time for me share.

First off, I'm a transfer student, a CA at that, and at my other school I had to take a few figure classes for my major(all of which were prerequisites to my animation classes). Prior to college, I spent a lot of time drawing the figure, mainly because I've been into character design since I was in elementary school.

I believe figure drawing is important because it directly relates to drawing with observation, a skill that's a must for any artist. You learn to add life and and movement to your work.

Anyway, I've included some of my work down below. The first two drawings are from a figure class at my old school.

Sepia Brush pen on copy paper

Conte' Crayon on tone paper.

The next set of drawings are all from my sketchbooks. I prefer drawing on smaller paper because a lot of times I chose ink to draw with. Sometimes I even use blue pencil for the underlying structure and then go over it with ink. My work tends to have a stylized feel to it, that's something I'm trying to work on. But, I enjoy drawing as many figures as possible which is why I love gesture day. All of these are from the days we drew gestures.

Blue Pencil with Ink

Ink

This last one is from my own personal sketchbook, and are studies from a book I picked up in the library. I prefer toned paper over white, especially with ink.

Sepia brush pen on recycled paper

-Ciao

Figure done in Watercolor

2008-11-05T16:08:00.001-08:00

With this process I had a lot of problems. But this was the one that came out good. For this technique you lay down one wash of color, using the paper as your highlights.

Figure done in Conte and Pencil

2008-11-05T16:01:00.000-08:00

This is a technique that I've been trying for a little while, where I smear the Conte crayons on a page. Then I use the kneaded eraser to pull out the high lights. After that I take the pencil and define some lines and add my half dark's.

More Stuff

2008-11-05T14:20:00.000-08:00

These are quick sketches. Like 2 minutes each.

Sketchbook Stuff

2008-11-05T14:16:00.000-08:00

Soooo, this drawing is a copy from a magazine ad in Vogue.

Images and some writing

2008-11-02T20:33:00.000-08:00

A pen and ink gesture I enjoyed doing since I had to move quickly.

A watercolor study of a statue, it was interesting trying to establish volume using layers of color.

Hi y'all, my post is long overdue and it's something I should have done earlier but I am doing it now finally. Well I have had the issue of why is figure drawing important to working in the illustration world rattling around in my noggin for a bit. To me it's looking at the model and realizing it's very complex but I can only do so much to get it down, just how do I communicate the things I see in a clear way. Just how complex do I want to make a drawing, even if I get "everything" down I can lose so much if I cannot get one aspect I think makes the figure what it is stand out. That to me is the point in illustration clarity, yet I would like to make things a wee bit complex since that is what I like honestly.

new figure work!

2008-11-02T11:50:00.000-08:00

really happy with how this one came out, had a lot of fun making the atmosphere and the space hes surrounded in!

charcoal has been kind of a touchey medium for me lately, usually i'm pretty confident with it, but i've been tightening up a lot with it and i'm not sure if i like it or not haha! id like to get into some more painterly strokes at some point in the future, a little more loosey goosey and less tight timothy if you will?

needless to say though, for what it is, this drawing is probably one of the ones i'm more proud about

cheers!

My little contribution

2008-10-29T22:08:00.000-07:00

Hey all! I finally got some pictures of my work, I had to take them with my cellphone so I apologize in advance for the poor quality. But here's some stuff out of my sketchbook:

I really enjoy working with watercolor. I like the unpredictability of it. I'm usually so anal about detail and stuff so this is a nice break from that.

Anyway, for an 'intelligent question'... I was just curious how you all felt about music and artwork. Do you feel that there's more of a connection when you've got music to listen to? If so, what is it that you prefer to hear when drawing (or painting)? Do you think its more of a distraction?

I personally prefer music. I tend to listen to a lot of things that are loud and dramatic, probably stuff that most would find distracting. However, when I listen to certain bands or songs I find that it gives me a 'rhythm' to follow. It helps me get into my own little world and block out visual distraction so I can focus on what I'm working on. It doesn't necessarily affect what the drawing looks like, but more the way I see things and feel when I'm working, I guess in a way I found that it makes me feel more passionate about my work. I'd like to hear other peoples' responses. I think it'd be interesting considering our recent 'musical conflicts' with the stereo in class, which I find quite amusing more than anything else. :)

A Few of my favorites.

2008-10-29T20:57:00.000-07:00

Here I have two pages from my sketchbook rendered in ink/pen of the model's many poses I particularly like the ones with the volume and curvature in them.

Watercolor drawings!!

2008-10-29T20:31:00.000-07:00

I finally got to scanning 3 pages from my journal. My first couple watercolor studies were not very successful since I was concerned more with getting every detail in the figure rather than big masses and shapes like in these ones where i try to show the contrast between lights and darks more.
As for the question of the importance of figure in illustration...
I think that without knowing the human body, anatomy, movement, the whole figure in general you can't really go into other illustrations cause figure drawing is the base for everything else. Even when the figures are not realistic they are based on a concept that is known to everyone and that is the human body, which is used for references and such. I've had such a hard time learning how to draw the figure from the inside out cause all my life I have been doing it the other way, but I'm satisfied with what I have seen so far because I can start to see the results of putting things I learn to use, and I just want to keep learning and improving.

Something more intellegent (hopefully)

2008-10-29T09:02:00.000-07:00

I had to really stretch my thinking cap to get some rationale I fully agree with. Everybody's got a different body. Right down to every teensy weensy angle, curve, and joint. This helps you to really see and look at what you're drawingand make a habit of that thinking even outside figure class and naked people. I'd have to check Webster's official stance on the matter but I'd say its the difference between seeing and percieving. Viewing stuff like that helps oodles with drawing but not so much behind the wheel.

Independent studies!!

2008-10-26T12:48:00.000-07:00

hey guys! good to see everyone posting! figured id drop off a couple of links to a few sites i visit when im resting my mind from projects and decide to do a little doodling in my sketchbook!

Character Designs
TONS of high res, clothed and nude figure reference photo shoots - great source of lighting studies too!

Exactitudes !!!
content, content and more CONTENT!! theres so many variations in people to draw here, all clothed ranging from all kinds of ethnicity, shape and age - great place for reference

keep your pencils sharp,
sincerely
t.

Rodriguez Gerada

2008-10-26T11:18:00.000-07:00

Hi all. haven't had a chance to scan my work but I thought I'd share this link with you guys
http://www.artjammer.com/index.htm
If you go to projects and Identity series you can see a series of large-scale portraits that the artist , Jorge Rodriguez Gerarda, has done in Barcelona, Spain
I thought they were mind blowing so check them out ;)

More to scan soon.

2008-10-25T18:36:00.003-07:00

I had these two already on my computer so I decided to post them (especially since I did these during class).

I really liked doing the watercolor gestures. I loved it actually. I'm really into color and I find that my work gets better if color is involved. I want to experiment with colored conte sometime soon if it is permitted in class... or do a longer watercolor pose.

I have a hard time with just black & white charcoal, conte, etc... but I'm hoping (and trying!) to get better.

-Ashley Busch

zach's pretty pictures

2008-10-19T10:57:00.000-07:00

Hey! Look at me mom I'm on the web!
I have no idea what I'm doing. I hope this works.

Oh hey yall!

2008-10-15T16:32:00.000-07:00

what's going on!!

figured i'd get this train moving - i think i'll dive right in and post a few drawings i'm happy with and talk a little about my process!

starting off with cante;

i've been structuring my figures off in value first - rarely will i ever start out linear - and if i do it's usually an outline to remind myself where to erase back for a highlight. i then set out to see what shapes the body makes to put down a rough half-dark shape for a shadow. . . at this point i usually bring out a terry cloth towel and push all the cante into the page - i found the towel works best just in case you have some unwanted grease from your hand that ends up laying ontop of your drawing after smudging like a mad man. from here its a quick and easy step to what you see above - refining the shadow shapes, not touching the half light areas until the very end and erasing the highlighted portions of the body - fun stuff!

next up is a graphite / charcoal wash;

this is one of my favorite and most simple techniques! same core idea as the previous above drawings - only this time i started with a tight linear sketch and used that as the base of the drawing. i did a lot of rubbing and erasing back in this one - it got pretty violent! i do that to push the values into the paper more and more to create a subtle layer of tone, then continued to use my magicrub to take out the highlights and go back in with another layer. after i got to a point where i was happy with the shadow shapes / highlights, i took some charcoal and broke it up into a fine pigment, then dumped it into a cup of water. once it was mixed to where i wanted it, i did a quick wash over all the areas except the highlights to try and unify the values.

last but not least - watercolor

this is probably the most simple and quickest traditional medium i've used to capture tone! with these, i started off with a super loosey-goosey sketch of the figure - once i was happy with where i was at i started to bring out the paint. i didn't really do these with what i had been taught in media class, i tried to use a absolute minimal amount of water here.

i was going for the simplistic look because that's what i think this medium is meant for - like i said, i didn't use a lot of water here, just enough to get a simple tone down - and i did that without lifting my brush as much as possible for each layer of wash (these were only 2 washes)

figure drawing to me is rediculously crucial to us all illustrators in my opinion - its the most dynamic way of impacting each and every one of your drawing skills directly, the amount of knowledge you gain by just observing the figure is priceless! it is afterall the core skill we rely on the most. . . i'm constantly trying to improve myself by looking at people who make me cry myself asleep;

Henry Yan

Zhaoming Wu

Nicolai Fechin

Aaron Coberly

Jeremy Lipking (the man!!)

ok so maybe i cheated on the last one, but hes still an amazing figure painter and worthy of taking the time to see!

BUT! what i want to know is who are you all looking at for inspiration? whose style have you been trying to rip off / steal / borrow to get you where you want to be as an artist at this point in time?

i think it's always important to be looking around - i just got over my infatuation with alex ross . . . well kinda, heh - but he uses figure reference for everything he does! people in full costume come and pose for his comic paintings and he uses it directly for his illustrations! amazing artist

so lets hear it! more importantly - lets see some work!

p.s.
im going to be resurrecting my sketchbook ( monumental occasion ) and plan to be doing a lot of life drawing at barnes&noble, starbucks, the new chipotle - basically where a lot of people are gathered - on the weekends to keep my eye sharp just for an hour or two. . . anyone is welcome and consider this an open invitation!

cheers,
tyler