There’s a Trick for That! Realistic Facial Features with Rob Silverman

There’s a Trick for That! Realistic Facial Features with Rob Silverman

There’s a Trick for That! Rendering Realistic Facial Features with Robert Silverman
4 Weeks • THURSDAYS 
• 1-4pm

Fall: Sept 10, 17, 24 & October 1

$230 Members / $265 Non Members

*** Outdoor Classes are under a tent so that social distancing can be practiced. Face mask guidelines must be followed and tables will be cleaned between classes. Guidelines will be provided to all students upon registration.

THERE’S A TRICK FOR THAT The Keys to Rendering Realistic Facial Features: Eyes, Nose, Mouth and Ears 

If you want to draw or paint expressive Portraits, it is not enough to try to copy what you see, trying to mimic every contour as you become frustrated with the model moving ever so slightly. If you know what to look for, you will render realistic form with confidence! 

Working from a live model, this Workshop will provide you with the knowledge and experience that reveals the patterns to every key Feature on the head. Through demonstrations, handouts, exercises and personalized crItiques, you will be provided with the strategy and insight to identify and replicate the unique characteristics of the sitter’s Head and Individual Features. 

The 4 session Workshop includes demos, handouts and personalized critique including: 

  • The effect of light on the form and choosing an optimal lighting set-up to reveal the key features. 
  • The overall structure of the head with keys to placement of each feature 
  • Compositional guidelines to optimally position the head on the canvas. 
  • Information regarding application of any medium to produce a convincing final rendering and likeness

REGISTER:

Trick for That – Rob Silverman

Materials List
MATERIALS

OIL
For experienced painters, bring the colors you are comfortable with. Please use Turpanoid as a substitute for turpentine. Beginners may want to try water soluble oils (Lukas Berlin from Jerrys Artarama is an inexpensive option). Light to medium toned (similar to the color of sand paper or a midtone grey) stretched canvas or panel, 11×14, 12×16, or 14×18 preferred. A hand-held mirror is recommended, as well as a View Catcher or equivalent.

BRUSHES
A selection of brushes each from 2 (2 brushes), 4 (3 brushes), 6 (1), 8 (1) sizes—Princeton Aspen are a good choice. Please have mostly filberts and a few small rounds.

Paper Towels
Palette; or 12×16 Richeson gray palette pad
Palette knife

COLORS (limited palette† is ok)
Cerulean Blue†
Cobalt Blue
Ultramarine Blue†
Chromium Oxide Green†
Viridian†
Alizaron Crimson†
Burnt Sienna†
Raw Umber†
Flesh
Yellow Ochre†
Naples Yellow
Cad Red†
Cad Orange
Cad Yellow†
Titanium White†
Ivory Black†

CHARCOAL OR PASTEL (as option to oil)
Canson Mi-Teinte 3 or 4 total sheets (for padding) of middle grey color such as light blue, light grey or wave green or 12×16 Canson pad of various colors of greys (use smoother side of paper)
–sharpener, and/or single-edge razor blades; emory board (works better than sandpaper blocks)
–paper stumps, and paper towels–kneaded erasers–chamois (chammy) cloth
Pastel: Bring our own set of pastels or buy nupastel prismacolor or faber-castelle hard pastel set of 36 (I will also have pastels you can experiment with on hand).
Charcoal: White charcoal pencil and hb, 2b, 4b, 6 (Generals brand charcoal pencils preferred).

Rob Silverman's Bio

Rob Silverman’s innovative techniques have been featured in American Artist Workshop Magazine and The Art of the Portrait, the official publication of the Portrait Society of America. His work has appeared at Crosby Street Gallery and Spring Studio Gallery in Soho, the Art League of Long Island, Edward Hopper House, The Art Guild of Port Washington, The National Art League, the Lockwood-Mathews Museum, as well as the National Arts Club and Salmagundi Club.

Let’s Talk About the Mouth with Rob Silverman

Let’s Talk About the Mouth with Rob Silverman

  

Let’s Talk About the Mouth
with Rob Silverman

1. BETWEEN THE LIPS

The space between the lips is not a straight line: The middle form of the top lip overlaps the lower lip and the 2 lateral forms of the lower lip overlap the upper lip.

2. LIP SIZE

The upper lip is usually wider than the lower lip.

3. LIP CREASES

The part between the lips does not end at it’s outer edges as a truncated line, but as a pouch-like node at the end, which is tilted toward the nose.

Rob teaches New Strategies & Techniques in Portraiture at The Art Guild and online on Mondays. Register here.

_______________________

About Rob Silverman:

Rob Silverman’s innovative techniques have been featured in American Artist Workshop Magazine and The Art of the Portrait, the official publication of the Portrait Society of America. His work has appeared at Crosby Street Gallery and Spring Studio Gallery in Soho, the Art League of Long Island, Edward Hopper House, The Art Guild of Port Washington, The National Art League, the Lockwood-Mathews Museum, as well as the National Arts Club and Salmagundi Club. View his work at silvermanportraits.com

Rob teaches New Strategies & Techniques in Portraiture at The Art Guild and online on Mondays. Register here.

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The Art of the Photo Book with Mark Mancher

The Art of the Photo Book with Mark Mancher

  

The Art of the Photo / Art book
with Mark Mancher

This note is not intended to be a “how-to” create your own Photo/Art book; numerous websites explain the nuts and bolts far better than I could. Instead, it is a paean to, what I believe is, an art form unto itself and to ask the question – why don’t more of us take advantage of the opportunity to highlight our art or create art using the incredible technology available? Technology which allows us to produce, and even self-publish, our own professional quality Photo/Art books? Particularly at this moment in time, when many of us have a story to tell and the time to tell it. 

Particularly at this moment in time, when many of us have a story to tell and the time to tell it. 

In a time when paper and hardcover books are being supplanted by e-books and audible books, one form of publication cannot easily be replaced by technology – Photo and Art Books. Sometimes referred to with some derision as “coffee table” books, large lush examples published by Rizzoli, Taschen and Phaidon ubiquitously grace the tables and bookshelves in almost every shelter magazine layout. We now all have the ability, with limited “tech expertise,” to create publication-quality, hardcover books, which will look right at home resting alongside the best of those publications. 

Books are easy to create online

There are many sites that offer free downloadable software from Shutterfly, Snapfish and many others. Currently, I use a site called Blurb.com. Most of these sites allow wide customization, innumerable fonts and layouts. You choose the dimensions of the book from several options, the number of pages and the quality of the paper. After you upload your images, you control the arrangement and content of each page and design the cover from a variety of choices.  You can insert text in any way you choose. In short, you have broad artistic control.  After you complete that process, you upload your design and send it off (along with a not insignificant, but not prohibitive, fee) for processing. In short order a very finished looking product arrives at your door. 

Art Books are anthologies.

Most commonly, Art Books are anthologies of the work of the world’s best-known artists and fine art photographers. These unquestionably have value. Without traveling the world, an artist’s work can be admired in a single source and traced through its various stages supported by text and quotes which give the art context. The design, editing and editorial content of the book can express a clear point of view and enhance or even critique the art.

Providing an opportunity to share more.

But, for us, the creation of a Photo/Art book provides an even greater opportunity – the ability to create a personal statement or form of expression which goes beyond what a single image or piece can communicate. To present a body of work and explain in images and words our art and motivation. 

For photographers, the subject matter is limitless, from the simplest details of daily life, like tableaus of daily detritus, to the grand sweep of natural landscapes and everything in between.  In its simplest form, a photo book created on-line answers the question “What do you do with your digital photos?” Many, if not most of us have hundreds of photos lying dormant on our computers (and hundreds of hard copy photos and slides that can be digitized sitting in boxes.) A photobook is a worthy replacement for the old photo album with the advantage that it can be customized, duplicated and doesn’t fall apart. It can be a tool to tell a compelling story of personal or family history, travel and life passage events.

Often uncovering themes

As photographers we often find ourselves drawn to certain subjects which we photograph again and again, street scenes, abstract patterns, nature. Why? Collecting these images and adding to a portfolio is a way to examine these interests. The goal of “working on a book” on the subject is a powerful creative motivator to explore and expand on the theme.  The photographs are no longer an expression of random interest, but a way to more fully examine, for others and ourselves, what draws us to the subject and why it is worthy of appreciation. It captures where we are in the moment and preserves it in tangible form for posterity. 

_____________________________

About Mark Mancher:

  Mark Mancher is an avid, lifelong, amateur photographer. He is a past Art Guild Photograph exhibition winner and an exhibitor at the Martin Vogel Photography Gallery.  He has a particular interest in the photobook as art, both as a collector and a photographer.   

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A Few More Tips on the Nose with Rob Silverman

A Few More Tips on the Nose with Rob Silverman

portraiture, rob silverman, portraits, nose, nose tips, painting tips, oil tip  

A Few More Tips on the Nose
with Rob Silverman

1. NASAL STRUCTURE

Trapezoid shape, the glabella, between nose and forehead is turned down at an angle, creating a slight halftone.

2. PROFILE

Avoid delineating the bridge of the nose (the side that is turned away from the light source) with a hard line. Use a slight tonal change instead.

3. SHADOW

Nose side plane and cheek plane are familial—the planes are generally parallel, although the nose shadow is made a bit lighter from the reflected light bouncing from the cheek.

_______________________

About Rob Silverman:

Rob Silverman’s innovative techniques have been featured in American Artist Workshop Magazine and The Art of the Portrait, the official publication of the Portrait Society of America. His work has appeared at Crosby Street Gallery and Spring Studio Gallery in Soho, the Art League of Long Island, Edward Hopper House, The Art Guild of Port Washington, The National Art League, the Lockwood-Mathews Museum, as well as the National Arts Club and Salmagundi Club. View his work at silvermanportraits.com

Rob teaches New Strategies & Techniques in Portraiture at The Art Guild on Mondays.

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More Nose Knowledge with Rob Silverman

More Nose Knowledge with Rob Silverman

nose, nose tips, portrait, portraiture, portraiture tips, TAG at home, The Art Guild  

More Nose Knowledge
with Rob Silverman

1. NASAL BONE

The end of the nasal bone creates a slight bump in the bridge of the nose

2. PROFILE

In profile the nose is half on the face, and half off

3. SHADOW

Minimize the contrast between the nostrils and the shadow plane of the lower portion of the nose, so that the nostrils don’t appear as punched holes

_______________________

About Rob Silverman:

Rob Silverman’s innovative techniques have been featured in American Artist Workshop Magazine and The Art of the Portrait, the official publication of the Portrait Society of America. His work has appeared at Crosby Street Gallery and Spring Studio Gallery in Soho, the Art League of Long Island, Edward Hopper House, The Art Guild of Port Washington, The National Art League, the Lockwood-Mathews Museum, as well as the National Arts Club and Salmagundi Club. View his work at silvermanportraits.com

Rob teaches New Strategies & Techniques in Portraiture at The Art Guild on Mondays.

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