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Drawing & Painting with KEvin Mcevoy |
Classical Figure- and Portrait-Painting: The Sight-Size Approach
This class presents the traditional, time-honored method for figure- and portrait-painting in the manner of the Old Masters. The instructor will demonstrate the historic practice of the sight-size method for establishing proper proportions, and will present a limited palette for flesh tones, used by many of the master painters throughout the centuries. This is a hands-on class, where the complicated practice of painting is made accessible by a very knowledgeable, kind, and patient instructor thoroughly trained in his craft.
Instructor: Kevin McEvoy
Instructor Kevin McEvoy giving an in-class demonstration.
Master Copy/Independent Projects with Kevin McEvoy.
In this course students copy the works of past masters in order to gain greater insight into the master artist's method and technique. Simple duplication is not the objective; rather, students are taught how to investigate and learn from the work. Primary attention is given to issues such as design and composition and the use of light and shadow. The class includes in-depth discussions of European aesthetic theory and disegnare, an important term in Italian painting which translates "to draw" and "to design." Students copy so as to better understand the artistic principles employed by the master, so that these lessons can then be applied to their own work.
About Kevin McEvoy. Kevin studied the works of Old Masters in Florence, Italy, for several years. Under his mentor Charles Cecil, he studied historical painting methods extensively, copying works ranging from Giotto's wall frescoes in Florence to Da Vinci's "Saint Jerome" in the Vatican to Velazquez's "Las Meninas" in Madrid.
MATERIALS NEEDED: Students should bring drawing supplies on first class.
Still life Drawing and painting with kevin mcevoy
By pairing down the complexity of any given still life arrangement to the basic forms and patterns of light and shade, the still life student will learn to see simplicity in any subject. The course will require the student to spend a minimum of four weeks on any given painting, with the option of carrying a painting to eight or even eleven weeks. The student will learn how to design his or her own still life subject, according to various considerations of light and shade, color, pattern, etc. Students will learn how layers of quiet, earth colors can combine to create a final color of great depth. Much time will be spent during the painting on important determining issues such as palette choice, medium, selective thickness of paint. Technical problems in painting will be discussed, such as a successful rendering of a glass through the selective placement of impastoed highlights. Master works from the past will be discussed, from the harmonious, earthen palette of Chardin to the sumptuous, vivid palette of Monet.
Figure Drawing and painting with kevin mcevoy
The goal of this course is the rendering of the human form by marrying anatomical knowledge to the visual experience. For eleven weeks, the student will work with charcoal to draw the model in one pose, from one position in the room. This allows for the discussed principles to be fully digested and interpreted, and for thoughts to be carried through to completion.
Each session will begin with a brief discourse on anatomy, and how certain properties of anatomical form can be alluded to in drawing. An example would be how form dictates two dimensional texture: a bony projection will typically be in sharper focus than a fleshy area.
The student will learn how, beyond cerebral knowledge of anatomy, drawing the form is about understanding patterns of light and shadow. As such, the student will work in charcoal, so as to better appropriate the wide range of values on the model, from resonant darks to brilliant highlights.
The student will be taught to maintain a large distance from his or her work for a majority of the time spent on the work. This enables the student to see the whole of the paper, thus enabling the student to see the flow of light over the form, and the relation of parts to the whole. In maintaining distance, students will also see how they can better discern correct proportions and shapes.
At the end of each class, time will be spent reviewing works of different draughtsmen of the past, from Michelangelo to Ingres.
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Materials Needed:
- minimum one sheet, two recommended, of Firenze paper, white
- nine packets of Fusain Nitram charcoal, three of which are H, three HB, three B
- a kneaded eraser
- a small hard, pointed eraser.
- a hand held mirror, roughly 6" x 8"
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