Sentences with phrase «draw charcoal portraits»

Not exact matches

I draw figures and portraits mostly and my favorite mediums are pencil, colored pencil, charcoal, pastels and any kind of paint.

I learned and hopefully will practice lots of very useful details for every stage of drawing portraits in charcoal or otherwise.

As well as outlining the best materials for portrait drawing with charcoal, Peter will guide you through two complete studies with a method that can be applied to any portrait you desire!

What look like gorgeously rendered charcoal drawings are actually portraits of deceased individuals made using their own ashes.

Her portraits, drawn in charcoal, pastels, and pencil, are of two Nigerian families donning stylish contemporary clothes in opulent spaces.

Our Visual Arts courses range from Drawing for Absolute Beginners, Basic Collage, Introduction to Watercolors, Acrylic Painting, Portrait Drawing and Drawing the Figure with Charcoal to How to Make a Graphic Novel and Color Theory.

From portraits, figure studies, and landscapes to mythological and biblical narratives, the drawings represent a dynamic array of sacred and secular subjects in media ranging from metalpoint, pen and ink, and chalk to graphite, pastel, and charcoal.

The works on view are a series of recent charcoal, pastel, pencil, and chalk drawings, ranging from wall - sized flower «portraits» to sketchbook - scale, intricate compositions.

In 2013, I did about 30 portraits, charcoal drawings, quite conventional really, but not that conventional.

Drawing + Painting Anatomical Figure Drawing Beginning Water - based Media Color Theory for Painters + Designers Color Theory for the Painter Contemporary Figuration Contemporary Techniques for Figurative Painting Continuing the Indirect Method of Oil Painting Creating Innovative Comics Drawing + Painting the Figure Drawing for Comics Drawing Fundamentals Drawing in Color Drawing Outside in RVA Drawing with Ink, Charcoal + Wax Resist Exploring Water - based Media Figure Drawing Intensive Impressionism, Mark - making + Your Sketchbook Intermediate Classical Drawing Intermediate Drawing Intermediate Pastel Drawing Intermediate to Advanced Watercolor Introduction to Acrylic Painting Introduction to Children's Book Illustration Introduction to Classical Drawing Introduction to Oil Painting Introduction to Painting with Gouache Introduction to Pastel Drawing Introduction to the Figure Introduction to Watercolor Mixed - Media Drawing + Painting Mixed - Media Image Transfers Painting the Still Life + Figure in Oil Pen + Ink Drawing The Expressive Figure The Portrait in Oil The Traveling Sketchbook Value Into Color Visual Storytelling Through Illustration Watercolor + the Figure

Chagoya will be represented by «Double Agent,» one of his large charcoal drawings from 1989, Saul by a study for his 1992 portrait of Jeffrey Dahmer, and DeForest by a large - scale canvas from 1978.

Toyin Ojih Odutola's portraits drawn in ballpoint pen, charcoal, pastel, pencil, and marker examine identity, race, and social concepts of skin color in American society.

Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil on canvas 83 x 99 inches SCamp 01 Carol Cole Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil on paper 30 1/2 x 25 inches JVd 52

Frank Auerbach, Early Works 1954 — 1978, curated by independent curator and art historian Catherine Lampert, will feature eighteen works from private collections, oil paintings and charcoal drawings, some not seen for over thirty years, including portraits of some of the artist's principle sitters, such as close friend and fellow artist Leon Kossoff, the model Juliet Yardley Mills (J.Y.M.), and Estella Olivia West (E.O.W.), Auerbach's lover until 1973.

In A Matter of Fact at San Francisco's Museum of the African Diaspora, Toyin Ojih Odutola presents an elaborately conceived and completely imaginary history of the UmuEze Amara clan, as chronicled in a series of portrait drawings in pastel, charcoal, and pencil.

This 1948 charcoal on paper portrait drawing in black and white is by Santa Fe artist Seymour Tubis (1919 - 1993).

Reinhardt would ask his students to make self - portraits in pencil and charcoal on fine paper and then, when the drawing was finished, he would direct them to erase it and start over, a process continued on the same piece of paper throughout the term.

Although each work is an independent work of art, the various images relate to each other stylistically and the long wall seems to narrate a story: demure charcoal drawings of reclining nude female figures and black and white portraits of dogs are being juxtaposed with Shishkin's colourful and richly patterned paintings.

I'll probably do more graphite drawings, but I also want to try some charcoal portraits.