I am so glad I discovered your channel! I have been wanting to get into atelier study of drawing. I hope to purchase some of your courses in the future. In the meantime, thank you for the free content on KZread.

@SadieValeriAtelier

Жыл бұрын

Glad you found my channel! When you are ready, you can sign up for my membership program to access my entire 4-year program for just $39 USD per month: www.sadievaleriatelier.com/membership

Fantastic reference

Great video 😇

Are there specific ways of sharpening color pencils?

@SadieValeriAtelier

11 ай бұрын

I don't know, sorry.

If I do this to a 6b or 8b pencil the lead breaks so easily... any advice?

@SadieValeriAtelier

Жыл бұрын

You may be nicking the graphite lead when you shave the wood. Shave the wood in long thin ribbons to avoid nicking the lead. That said, I don't use 6B or 8B, the softest I need is 2B. If you are finding you need very soft pencils to get your darkest darks, you might find you can make your 2B very dark by eliminating texture and filling in all the tiny white pits of the paper with a very sharp 4H.

@SadieValeriAtelier

Жыл бұрын

My graphite courses teach all this in details at sadievaleriatelier.net/all-courses/

@aciduss

Жыл бұрын

@@SadieValeriAtelier thank you I will for sure try that.

Well, that's one way to sharpen a pencil, but it isn't the "correct" way. I do make chisel points that way, but never a very sharp point. I can create sharp points much better, at least for me, using a long point pencil sharpener, such as the Derwent. If I could find a pencil sharpener capable of producing a large chisel point, I'd never use a knife. There's nothing at all wrong with sharpening pencils with a knife, but other than a chisel point which can't be done with a sharpener, there's nothinmg correct or right about using a knife, either. That ship had sails, and left port a very long time ago. Whether long, sharp point, short sharp point, or round point, sharpeners do a better job than any knife. They also do a less expensive job on many pencils. I understand where you're coming from with the Old Masters, but, frankly, I know a number of artists who are every bit as good as any of them were, and who are better than many of them, and who never went to art school of any kind, at any level. Something I learned along the way, largely by studying and doing my best to copy the Old Masters, is that realism, even the most perfect hyperrealism that displays unbelievable skill by the artist, does not mean a drawing or painting is any good. Patience is good, but there's a point where patience becomes perfectionism, and another point where perfectionism becomes pretentiousness. Realism is not how the Old masters created such beautiful work, nor is perfectionism, nor, as much as professors and other pseudo-experts would like to believe, is learning how to see. All three of these things are just different words used to describe perfectionism and pretentiousness. The Old Masters achieved what they did not by learning how to see, but by being able to FEEL. Emotion made these works great, just as they made, and still make, everything from impressionism to cubism great, when done by the right artist. In every art class, particularly the painting classes, there were always two or three or four students who could copy any of the Masters down to the last brush stroke, and do so in a way that a bit of aging made these paintings fool even the experts of the time. Their own paintings were equally good. And as boring as old dishwater. In fact, these were the students most likely to fail at earning a living from their art. They usually gave up and became professors. Those ten years of study that existed for so long were pretty much never because the artist needed them. The artist's skill was fully developed in a much shorter period. The ten years were sometimes about pretentiousness, but far more often about money. There is still all sorts of nonsense involved in the arts, and no field on earth has one percent of the pretentiousness and pseudo-sophistication as the world of art. Art now trickles down from the top, rather than up from the bottom as it once did. It even exists at the level of which art supplies a beginner should use, whether that beginner is learning off KZread, which is better than ninety percent of the art schools I've seen, certainly better than the one I attended, or whether the beginner is a student at some art school. "Quality" pencils and "quality" paper are often where it begins with drawing. "Quality" always means whichever brand the professor uses. With pencils, it's Faber-Castell, Tombow, Staedtler, Derwent, Prismacolor, or you name it. These are very good pencils, but no better than many Chinese pencils, or no name pencils from a wide number of countries. There are lousy pencils out there, but the bad ones are almost always intended to be bad, and are for children, or advertising, and other such things. But there are many, many brand with wonderful HB and 2B pencils that don't pretend to be art pencils, or even to be good. It's ridiculous. I think I have every big name brand of pencil that exist, whether it's graphite pencils or colored pencils, which a lot more art professors should learn to use,, and I do enjoy using them. But none of them are any better that Chinese arts pencils I have, or pencils from several countries. In fact, I doubt I'll even use up all the Faber-Castell or Tombow pencils I have because I do ninety-eight percent of my drawing with Chinese pencils. I know several top artists who have also madee the switch, though only one of them admits to this publicly. Sadly, peer pressure exists in the world of art, just as it does in high school. These wonderful, widely selling artists are afraid of being laughed at, or even of losing sales, if anyone learns they prefer the Chinese pencils over the big, very expensive brands. Paper is the same way. Sketching paper isn't enough, it must be Canso XL,or Strathmore, or one of the other top brands. The funny thing is that I've found top artist after top artist who couldn't tell any of these brands from Walmart Pen Gear paper, and who raved about HP 120gsm premium paper when they believed it was a new brand of loose leaf paper that just hit the market. Beginners are being ripped off and lied to on nearly every front, and it's sad. Buy and use the brand of pencil YOU enjoy, and not the brand anyone says you must use. Throw away anything softer than 8B, or harder than 5H. You don't need them, and they make the learning curve twice as steep. Likewise, but the sketching and drawing paper you like. If you want and can afford the biggest and most expensive brands, fine. But you'll be no better off than when buying the far cheaper brands. Seriously, your sketches and drawings will be just as good. Buy a ream of HP 32Lb premium paper. It's actually 120gsm by the way weight of paper is done in the United States. It's as smooth as glass, and perfect for beginners. Or pros. Go to Walmart and buy Pen Gear sketchbooks. Save your money for when you produce drawings good enough to mount, or good enough to sell. These you probably will want Bristol smooth, or Bristol Vellum, or Bristol Board. not for your sake, but because it will be mounted and displayed by the owner, and such paper makes this easier, and greatly reduces the risk of damage down the line. I like Strathmore Bristol, but there are other very good brands. Anyway, I have nothing against art schools, or against MFA programs in writing, for that matter. I did both. They are useful. And they are unbelievably deadly to budding artists and writers.

@SadieValeriAtelier

2 жыл бұрын

I agree, cultivating the ability to feel, and express how you feel is the most important part of learning to be an artist. It's also the most important part of learning how to be a human. Those who take my courses know that I speak as often about feeling as I do about technical principles.

Big Pencil invented this technique so that people keep breaking their pencils and buying more of them.

@SadieValeriAtelier

11 ай бұрын

Yeah it's all a vast black wing conspiracy...