Figure Drawing


Rodin drawing rendered at the Met.


Life drawing, the representation of the human figure, requires both technique and an understanding of human anatomy.

  1. apply expressive drawing techniques in capturing the human figure
  2.  draw the characteristic shapes and proportions of the human skeleton
  3. capture the basics of posture and motion through gesture drawing
  4. capture shapes and proportions of human anatomy and muscle mass
  5.  use contour and blind contour drawing to capture the shape of human subjects
  6. draw the proportions of the human face in frontal, profile, and three-quarter views
  7.   apply the concepts of volume, perspective, and shading
  8. apply tips for composition, including texture, balance, rhythm, variety, unity, and emphasis
  9. apply expressive drawing techniques in capturing the human figure 




Working Edges


Diffused Edges
The contour of forms can become completely lost, leaving little or no definition. Use diffused edges for the following to:
• Indicate foliage in the last plane in your background
• Create ethereal cumulous clouds
• Create realistic waterfalls that appear to be moving
• Indicate crashing waves in seascapes

Soft Edges
The edge is recognizable, but blurry.
• Distant trees and evergreens in backgrounds
• Distant hills
• Things in the peripheral areas of a painting
• Water reflections

Hard Edges
Clearly defined with no sense of being out of focus.
• Rocks
• Buildings
• Rocky mountains

Principles in the light group

cast shadow

Color is brighter in the light. The shadow color should not compete.

More detail and texture is in the light source.

Light can any color. If a little of the light color is in all the painting your colors will harmonize. I usually glaze a light color over the whole surface to hold every thing together.

All forms within your picture should appear to be lighted by the same source and be lighted consistently with one another. Shoot your own reference that has clear light and shadow. You can multiple light sources make one primary and or make one warm and on cool to compliment  each other.

Brighter light, the spotlight. tends to make drama  a softer light. This light tends to be more dreamy and spiritual.

Light and Shadow


All objects of nature are made visible to the sight by the light of the sun shinning upon them. We see their color and texture more apparent in the light area.

The shadow planes will be those planes lying in or beyond the direction of light so that  the original source cannot reach them.

Break up your design into two groups. The object is to make all the lighted areas hold together as one group, as opposed to the shadow areas as another group. If the values of the two groups are not thus separated and held apart, the subject loses solidity and form and becomes visually confusing even if it is drawn very well. This is where most paintings fall apart. A safe approach is to make all the areas in the light a little lighter than you think you see them, and all areas in the shadow a little darker. If you break the two groups apart in your pencil sketch than you can refine in the painting stage. Sometimes it helps me to use black paper and draw with a white pencil the lights to see the light better. Also take your painting into a low lighted room and look at the values. Color sometimes confuses your values. The image should be able to work in black and white first or color is pointless.

Happy Thanksgiving


Working on Projects

Staples Perforated Note Pads, Wide/Letter Ruled, White, 8 1/2" x 11 3/4", 12/Pack (23643/26785)

  1. Take a goal-first approach to solving problems. Prioritize always. Align new work against your goals.
  2. Look at the big picture.
  3. Solve one simple problem at a time. Don’t be all things to all people: Tackle one problem.
  4. Admit what you don’t know.
  5. Say “no” with confidence. Explain why ideas won’t work.



Highlights tell all. They tell you what kind of surface and texture the object has. The more reflective a surface is the sharper the highlight.  Highlights are shapes. They should decrease in value as they move away from the light source. They also should never be brighter then the light source. The color of the light should be in the highlight. When there is warm light , they will have cool shadows.  When there is cool light, they will warm shadows.

Color is duller than light group.  It will show less detail and texture.  You might let shadow be almost flat to simplify the design and put emphasis on the light group.

Reflected light belongs to the shadow group. They should not be lighter or brighter than the light group or they will flatten your form.  Also reflected light can be a shadow that changes values with out competing  with the light group. It usually looks like fog or mist and creates atomsphere.

Shadows are shapes. Good value patterns make good design. Good design mades good impact to the eye. By running shadows together by connecting them, will simplify your design. This will help your eye move through the composition.

The quicker a plane changes direction the crisper the shadow. The slower the plane changes direction the softer the shadow.

Three types of value compositions that have strong impact.

  1. light object on dark background
  2. dark object on light background
  3. dark or light objects on grey background


Just Another Veterans Day by Franklin Price

Image result for USA Flag

Just another Veterans Day
As one, I have something to say:
We answered to the drum and fife,
For a time, another kind of life.

To march in step and learn to shoot,
Follow orders or get the boot,
Right in the butt; at least we thought
Respect and discipline we were taught.

Our drill instructor not our friend
Yet one on whom we could depend
Trained us well for what would come
So far it was than started from

Some did enlist. Some draft did call.
Once in the same, yes, one and all
No matter color, race or creed
All were there to fill a need

Some to combat would report
Would give their all to hold the fort.
Suffer wounds of body, mind,
Will never leave that life behind.

I wrote this poem to commemorate
The Veterans that we celebrate
And at it’s end I have to say
For us, it’s never: “ Just another Veterans Day”

Autumn Breeze Critique Day

New Jersey



Saturday, November 11, 2017
10:00 a.m. – 3:00 p.m. 
Princeton Theological Seminary,
Stuart Hall

Princeton, NJ 08542

  • One (single) fifteen minute critique session for full picture book or first 15 pages (+ 2 page synopsis) of a novel or portfolio review.
  • Two (single) fifteen minute critique sessions with two different faculty choices for full picture book or first 15 pages (+ 2 page synopsis) of a novel or portfolio review.
  • One (double) thirty minute critique session with same faculty choice for first 40 pages (+ 2 page synopsis) of a novel only.
  • You will not be able to sign up for more than two critiques. One double session counts as two critiques.

This event is open to all SCBWI members and Non-SCBWI members (with a non-member surcharge).

Feeling the Emotions in Your Paintings


Creating incredibly powerful paintings capture the memory of the scene, mood, and feeling need the following components:

  1. Choice of scene
  2. Gathering visual information
  3. Editing the information
  4. Composing the painting
  5. Creating an underpainting to establish the value structure
  6. Applying color
  7. Manipulating edges, creating details, and finishing


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