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The LIFE DRAWING SOCIETY UK PRESENT:

From New York,

CRISTIAN DE LA PENA

New DRAWING COURSES;

‘’APPROACH TO CAST DRAWING’’ Monthly course

GENERAL CLASS DESCRIPTION:
To give the artist a good understanding of the use of the work materials. This alone gives an artist a 50% more chance to produce a fantastic drawing.
During the regular classes that Cristian De La Pena will offer in the Life Drawing Society, he will start with a one‐hour demonstration of drawing from a Cast.
‘’The aim of the demonstrations, critiques, and personal discussions is to show people how to paint what they see, not what they have memorized or think they see. Furthermore, I want them to use the language of painting and drawing to push the envelope of expression so they convey an attitude or tell a story. The goal is to give people specific information and get them excited enough to stay motivated as they learn. ‘’
After the demonstration, Cristian will give the students a chance to draw the cast model in the same position as when he did his demo, and will walk around the studio offering comments on the accuracy of the drawing, the range of tone mixtures, the balance of values and edges, or whatever he thinks will be helpful to the person at that stage of their drawing.

STUMP DRAWING
Drawing using a charcoal pencil mixed with a “stump” helps an artist to achieve a sensation of reality and great finishing. Drawing with a stump is basically painting with charcoal. It will enable the artist to work in the tones and values in a much more accurate way.
We will start our drawing identifying the ‘’Big Box” surrounding our subject. We will then break down the figure, measuring proportions in a very easy and clear way. How to open a big range of tones will be our challenge, and organizing values will uncover how focusing and understanding light is essential to giving our drawings life and sense of realism.

DRAWING SEQUENCE

FINISHED WORK

By Cristian De La Pena

MATERIALS
Canson paper
Charcoal pencils 3 Soft, 3 medium, and 3 hard
Charcoal Sticks Big medium and small
Putty rubber Winsor and Newton
Stumps 2 Big 2 medium 2 small
Scratcher (Sand paper)
Mat cutter
Suede Fabric

ABOUT CRIS DE LA PENA, THE ART TEACHER
Whereas once there were only a few art schools and ateliers where one could receive a disciplined education in representational drawing and painting, there are now dozens of such schools, as well as informative websites, accessible filmed programs, workshops, and annual conferences. Cristian De La Pena is one outstanding member of this emerging group, and in just a short period of time he has utilized the tools available to him to establish a following among students,
dealers, and collectors.
“There is a new generation of young, determined, talented artists who have had access to solid instruction and professional opportunities that were not widely available to previous generations Cristian De La Pena is one of them”. Life Drawing Society.

OBSERVATION
Cristian distinguishes his approach from other instructors by saying it is based on a “peripheral” vision rather than a focused or a generalized perception. That is, he opens his eyes and forms an impression of the entire figure, including the peripheral areas around the cast, because he believes that when one looks at a subject, one first sees it in the context of a complete environment, not as an isolated part of that total space. Furthermore, when one focuses on a person, building, tree, or vase, his or her perception is clearest in the area around that
center of interest. One’s method of painting should reflect the way he or she sees objects in a context that is both focused and blurred. Cristian’s peripheral vision contrasts with other methods of seeing a subject that is to be draw. For example, some artist’s squint so all the shapes blur and they can more easily gauge the big masses of tones and values without seeing details; other artists focus on connected areas of the subject and carefully measuring the outlines and relationships between each of the shapes.
Cristian: “Cast drawing is one of the most challenging subject because there is no allowance for inaccurate drawing or painting,” I want them to see that the solution to each new problem that comes from what I see, not from a formula.
The composition, colors, values, edges, and procedures are determined by an assessment of what I observe when I look carefully at the model. All that we are capable of seeing is light. Therefore, if we can learn to paint the effect of light we can have the freedom to paint anything.”
Once the Cast is ready, the artist will focus on the second most important task: the first few pencil and stump strokes of the drawing, which will serve as the foundation for everything that will follow. “ We will begin by determining what part of my subject most compels us,” Cristian says. “We will visualize that portion into a number of strokes, and then we will carefully render those strokes in the simplest way I know how.”
Drawing technique is quite easy to follow, with the first applications of charcoal being applied with bold movements of a pencil and refinements being gradually added with softer and smaller stumps. The idea is to approach the figure as one would at first sight, with general forms becoming clearer and more specific as the person comes into focus.
Cristian really tries to test each artist by setting up a new set of problems each time and pushing them to get better at handling the fundamental skills of seeing and painting,” “By the end of the long day, we all fairly will be exhausted from both the physical and mental aspects of the process—but surely we will all really enjoy it.” Cristian.

Come and join us. We promise it will be fun…!

Cristian De La Pena

Email Tony to show your interest or curiosity...