How Artists Grow Over Time (ft. Cesar Santos)
Hey. Guys welcome on proko my name is Stan Prokopenko this. Is season Santos. We're, in Balboa Park at the San Diego Museum of, Art we're. Gonna walk around look at some some. Master paintings yeah, I would love to come on semester. Dissecting. Those paintings up yeah and then we're gonna pick one we're, gonna do some master studies talk. About the importance of master studies and show you guys how we do, it except, we're not gonna really spend much time on it so but, we're gonna do a little sketch give, them a little taste of what it is and yeah yeah cool. So go, sit, it. What. The kid oh no. I think he's about to jump. Do. You see that oh. You. See that. That's. Awesome. European. Art. Okay. What. Year don't look take a guess. At. The end there you're good. 15:40, but. Look for instance this is interesting because these we already, were, learning how to compress, the value so this is something that they had advanced no. Grass looks, this dark in nature right especially, when she slid open the sky. Is blue and so. I always pointed, out or realize, that because I those. Are decisions that the artist was making on purpose and we're not victims of what's, in front of us right as the Impressionists. Were doing, so we have even though we do academic. Our classical, training we really don't we're doing a mixture, of rendering, in the impressionistic approach, and, they just look at copy I like. To point out also how the. Thing that they had that. They were not controlling, yet most of edge, control. And, they could have loosened. This at you but they actually marked, because they knew there was a difference between this and that so they divided. It they, didn't know the power of loss of found edges so. Everything. The. Story too much yeah. I see that a lot in. Newer. Artists, yeah. Yeah, so they what they look, at little details and they start dabbing. Like. Little leaves and stuff and grass blades like little.
Grass Blades instead of capturing the picture also. The local colors it's interesting that the, grass is green the sky is blue the rock. Is gray and the flesh is big like yeah, so everything. Is local, color I'll turn, with. The details so, also. I tell the students when you see the sky if it's blue it's obviously, do let's try to look for colors that are not there so you can add that pump the the, broken color filling to a look. Yeah so, those are like when. Settlements to to, point out in printing things as these that normally people come to the machine cities and skip it because they they know there are better things to look at right and I'm like no no way this is where you do it. And. I think he is broken that's, why I wanted to talk to you control. Structures, and and you know it a way more than me because we did we we. Kind of studied. With a little bit more optical. Feeling. To it and I kind of look at it and generalize the big form but, every time I see you they describe, the structure, and like, simplifying, air is super, super, difficult for me no really yeah, I don't know how I get it say if I take a picture I don't know how to draw, architectural. II okay. No honestly. Actually, I wanted a picture that I want to drop that I was okay and say, okay show, me how you do because I try and. So. Just, saying okay yeah we, could talk about that yeah yeah simplifying, here in a big blocky forms. But. Yeah something most people have a hard time with that because you see millions, strands, but. You have to look past it and just, imagine. If you are gonna sculpt, it in clay you, can't sculpt it with little hairs you have to start. With a big block of something, mm-hmm, and that's that's, the simple form so. Yeah well please Sam I mean when, I what. I have a conversation, with someone, who wants to learn how to paint in this I think sometimes. They want to copy exactly but, the flesh color formula, is and this is an example that we were talking about because you can see that it's just a principle within the flesh the complexion but you, can adjust, it back up somewhere so Wow.
But I think this is a bad example of, it no, it was like flesh, tone convenient, because it's like the. Flesh tones in here don't follow it. Doesn't look like they're in the same room. They're. Not they're like lining in the same environment they're, they're completely different. You. Know what I mean like, this guy his. Shadows, are very. Red super, warm this, guy is super green, why isn't any of the warmth from his arm bouncing, up into his arm he, it's he's not in the same environment is that guy I don't feel like they're together because of that the light doesn't connect, them so you would have liked this but you wouldn't say oh I. Don't. Like this bangs because of that or with you I like the painting because, of. Victoria. Levine this, I like the way the story feels and Anatomy. Actually looks really good to me other than the hand that you pointed out if. I was to look at the black and white version of this I think I would love it this, is great the colors just don't seem to harmonize. I, mean. Look at the the drapery in there the, shadow should reflect that red mm-hmm. Or the red should, reflect into the shadow of the blue yeah. It's not so they're just they're not in the same environment is very naive no yeah. I mean. Probably because he didn't paint them together like this he. Painted this guy probably sitting. There and then this guy came in and he painted him, right. They weren't together, yeah. But for. The time that they were painted this I think they were drawn they were painting from drawing so I think he's more like the decision, maybe this painting was a little far like. Up in the place or something and they wanted to give color. Because now we have like. I'm ridiculous, right wait this is too bright so his the red is just as bright as your red we have the back in the day everything. Was about earth colors, so yeah excited, rated that so. It wasn't actually that red Hollywood. Okay. But, still even if it was brown. It's. Some Brown would reflect into that blue. The. Life like, they wanted to exaggerate, the differences, in. The colors is that. Why. You, need a black horse with the brown show. You and then they walk into a stone. Steps. Okay, and then by the tie was, like not. A saturated, right right, they turned again. They wanted, the painters, used, to colors that they had the pigments, the only way because nobody's dressed like with this okay. Then they, exploited, that, the power of color to, narrate, the story of the worker and that his burn and I, and then the guys that kind of sick a his green like, is more like the narrative, of it so they exaggerated, so that the people would be like oh. I. Get. It I get that but don't you I mean do. You think that if he. Made. Slightly, more accurate reflected. Lights they would ruin that story oh. But. They had to wait a couple hundred years to write down then do it oh they you don't think he knew about reflected light yes. Banana color. Harmony, in the naturalistic, way like that develop after the 19th century who were all those people were doing it in a more subtle way on.
China. Fix opinion later that good no. It's actually really good that's like one thing I don't like about it it's the color harmonies. So. I, mean, the biggest thing that I'm noticing and, this one is. The. Way he uses light he's. Not just making everything lit, up like her face is mostly, shadow because. He's comfortable. With using, light to tell the story yeah, he's, not afraid to make it the face dark yeah because. He he, knows that it will actually be more, powerful if. He makes the face darker, yeah. Because it's against the light background. But. He is bringing the, attention more to the hands right. What. Do you think well. This. Is our I love what I want to make sure I just have five now so I want to make sure I'll take that back actually yeah one of the places apartheid, you know that that's interesting because is true what we're standing here yeah. Yeah. But when you step back there's, actually more contrast a toddler song yeah and. Look, it from here actually we don't see the full of the skirt let it go yeah it cleanses but, I'd seen that that's what in contrast, to what we were looking before that they were just to it that, yeah. Yeah. And they wouldn't the, guys in there wouldn't have brought in the Browns from. The grass and the dirt into the dress, it would have been like straight, up blue and then the straight up brown and then sharp edge we can I said yeah. You're. Gonna do a study is you. Will know, you want to sergeant. Right all. Right so. Get. Closer I could copy you, copy. Me you're coming I. Actually. Didn't know that you. Ain't. Even notice that about your work that you, soften. Edges well, I didn't know I didn't, pay attention mmm-hmm, thank, you for looking at my work no I. Didn't. Know that was a thing do. Do it I mean look like copies ba yeah but okay let me so. Do you mind it yeah sure. So. Okay. So look at the first painting yeah I start I said the moon offset is awesome. That's. Cool man that's another sketchbook oh why, wouldn't you do that on like a canvas. I'm so afraid to touch this right why, I get out of here it's like you got like masterpieces. On every page this, isn't a sketchbook these are like this is like. That's. Awesome well we will look through this yeah, Wow. Put, a clip legit, sketchbook, especially. For me are so like, interesting. Because you can just be yourself you know, true. Drawing. Is gonna be different than how he shows, it with a brush you. Could still study the edge yeah. You just have to kind. Of put it down differently yeah. Is. It charcoal yeah it's just a star called us but compress. Does, it stay on or. If you blow on it it'll come off of your paper they say yeah. Because you grind it with this you go oh. Well. I'm gonna learn something from you sure, how. Much time do you think we should spend on it 30, minutes 30. I. Can't do anything. Starting. No. I'm just shaking, that's. Just like testy, are, we competing. Yeah. I want to get my I'm competing with myself. And. With sergeant, are you trying to beat. I'm. Gonna do a little a. Little. Stud you. Broke it yeah, but I just put it in I have more oh. You. Were doing it that's, why you did. You did you use the little guides and then, these. Things oh. My. God I get to teach you something what. That's. Way too long. Okay. So you start with the one on the right I believe see. How much longer it is it. Doesn't go in all the way so what you do is. Grab. It on that's. The link. That, you want to start with you. Do it and, then you go to this one just and. Then you do a little longer okay. So, you start with this one. Grab. It just. Blew. My mind okay. And then if you want a longer taper, you.
You, Go, in this one it makes it a little bit longer. Sun. And. Then it's done. What and. Then you clean it and that you already know that you clean it in that thing but they. Know I knew about the cleaning but not this yeah. Thank You mr.. Long that's. Why it breaks but. Because the sharpener does if he goes too deep it'll just break. It no. No you blew my mind right now because I always do it. Just, guessing like that yes that's, why they break. You. Do. You think I should do just the, face or the face and a shirt you. Should do everything I don't know if I can do everything I want. To focus, in a little bit more I'm I'm, the. Face. Yeah. Most. People ask me oh what do i studying what do I do I'm like go to museums, and just sit down and do it like this is a whole school. It's, a hooker, of course. Straight. Lines yes, like, being angles big angles beetles. See. I figured up whom you like this, yeah. Okay, and then, I just deliver it in, whatever area, I want. To apply it. Beautiful. Yeah yeah. I like that I'll have to try that with the background. So. I try. To create mood from the beginning to Vegas if. I become too, attached. To them yeah. A little, vino, wine yeah, yeah, especially. With sergeant you know maybe I maybe. With a different, artist. Like more tight, but. Sorry let, me be. Nice, okay. Nice do. You divide your, compositions, our first act with simple values like you just say okay this whole scene I'm gonna do three values or do you yes okay good yeah, I simplify, values. Like. Right now I'm thinking of just two. Shadows. And lights mm-hmm. And. I'm just blocking in big value, shape like big shadow shapes hmm, and. Then. I'll go in and start, figuring. Out like D the. Things within. Mind. If I use your, stick. Things right out this, just, like this yeah. You. Will see how much to put it on top of your sting, oh. Nice. It's not something oh yeah that's cool. It's. Just so much better. Yeah. Yeah, because he's softer like, you, that yeah, for the big effect this is way better. And. I can get half-tones real quick. Wow. Everybody's, in here now. I. Love. This dude yeah, you, didn't I'm gonna I'm gonna freakin I started. Using this stuff. I thought you were like a fan of that because see it looks like very useful freeware you do it. Is man. You're gonna become softer, I'm pissed off at you that you didn't tell me about this before. Oh being. Trying to call you for long idea. Finally. You got something I give you I gave you a fake phone number I. Will. Do the face but later like I wanna I want to do the face when I kind, of iron it because, I force myself to do the body exercise, yeah, and, I'm not portrait, yourself like that I wanna kind of like just go to it like I'm. Just working around the face, yeah. I do I do like little pieces like I'll put. A little bit too, much detail in one little area and that, kind of establishes. All a little bit more for the Riley it helps for the rest yeah. And. I'll put like the darkest value and in an area just say it, sets. Up the whole piece, it's like I could see the lightest and darkest. I. Love. Comparing, like elements, of portraiture. Or drawing or paintings to to, life and. Of like dark. It's like the nightly start and you were kind of like afraid of anyway, when. We're exposed to a little and, then when, you make a section. Dark, it gives that also that mystery. Or no and then you combine it with light right the soul show clear. Stuff you're not afraid of it then you have to be what crisp and more open, to it I kind, of comparing, the metaphor. It's like that, it's. All too deep for me now too, deep too, deep for me that's which is. Some. Big-ass terrors, of this. Face something's, really. Well. You think you're making like giant. Errors no. No no yours, at least looks like a child, I've destroyed. This entire area, where the lips are, because. Paper is just so completely destroyed, and I can't get the lip shape just, a pig it's like you're gonna start seeing the underneath. I. Gotta. Get those lips. Sergeant. I hate. You. Know what is great to to. Do copies because you get an attachment to something that maybe just even if you looked for, four hours and you're, true for 20 minutes you, I. Don't you. Know, I'm. Always encouraging anybody, to draw because it's, incredible amount of information that. You. Can find out by just. Scanning. I. Think. So now, we're doing. This yeah. It's. Fun - it's like so much fun, like. We're, sitting in front of a sergeant. Right. Like, a real sergeant, yeah we're just like, I'm. Just trying that's, a luxury and there's cameras playing in it. That's, the thing makes it a little awkward, all. Right. Edge. Hard, edges are nice already, love their joint man yeah, no, edge working, hmm, he's. Got these hard. Edges all around framing. The face like in little spots mm-hmm. But. They're not connected they're like little. Spots. The. Edges would be like they're.
Not It's, not like one giant you got out mm-hmm, it's, like a little sharp here a little sharp here a little sharp here and, you're I will yeah, but, it. Keeps it interesting. I'm. Missing, those sharp edges on the eye though, that's like. Big. Ones. Another. Thing though that we. Might. Not be thinking about as. We're. Doing the white is. That it creates a temperature, shift as well mm-hmm yeah becomes cool yeah the white is a cool and then the paper is warm if there's, something really cool up there I have to put a little bit of this as well and. I can't take this use your moshing alien temperature, it. Feels off if you're not a little bit you got to think about a little bit like if I start putting a little bit of this into. The. V like. At the shadow, it'll. Look complete it'll look really bad because the shadow should stay warm well, but if you need your chance to be later use a big pen yeah exactly, so peak was a racer that's. The kind of stuff I'm talking about I know because even me I had to delete after the race, where. I'm gonna put the white because I wonder why it took on the paper or not I guess yes. Cheater. Get. Back here okay, I couldn't see this. My. Ships are gonna be so rolling the Chinese letters are like so thanks kind of like you misspelled, that word. Yeah. Yeah. So I wanted to get up there to give you a couple of access to the face but from here again I cannot see, it properly and I didn't want to oh look. Who's cheating, now. Just. What happened it, looks so different in like the highlights just like look. At the highlights in the face it. Was like I'm, like glowing. No. In the darks they don't glow the highlights don't glow that much. It's. Like the white charcoal has like it, glows, when light hits it but, in the shadow it's a lot more muted so you would push it yeah I was pushing it in to play too much. All. Right I think I'm done yeah all right stop you could know you'd get gone huh no no. What. Is John. Who's. John Alfred. John. Offered. That's. A boy. That's. A boy oh crap. I think it is a boy. Every. Time we say a girl that is a video years going. Man. That's a beep I. Mean. I guess I can see it now, it's, very gender, don't, even think yeah. It's, the long hair but. Yeah. If. I cut out the hair. It. Looks like a boy I just. Do. Kids, are young they're, really like. Yeah. Do. You get you get this problem a little bit yeah, not as much as me no because almost using more graphite than charcoal, that's true you were more into. It it would the sergeant was more into it in. More. Aggressive, with it you was school I'm gonna go watching.