Sea Shell Hunting

Dear Art lover,

     I find it interesting what one learns about another in simple shared experiences, such as collecting sea shells by the sea shore.  I have at least two friends that I have had the pleasure of doing that with over recent years.  Funny, they both prefer the perfect shells.  While I find the perfect ones beautiful and amazing in design and execution, I tend to adore the ones in which the broken exteriors reveal some of the beautiful forms inside.  The good news, of course, is that we will never “fight” over the choices the other one desires.  That is always a relief… as when in high school:  you were glad when your best mate had different tastes for dating.  If not, things could get ugly. Ha.

     So, along this rocky beach I found north of Umag, I was enchanted to find these tiny shells.  Because one of the friends referenced to above, Kumiko, cherishes the tiny beauts.  She likes them perfectly formed still.  I picked some up for her, as well as lots of tiny broken ones for me. 

     My friend Ruth pointed out to me many years ago that perhaps the reason I can so easily recognize fear in others is because I am consciously grappling with my own fears.  On my day sifting through shells recently, I wondered if the reason I want to hang onto my friends who like perfect is so that I reach just a little bit higher.

     You know, perhaps, the famous quote by Michelangelo:  The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark.

     Oh, enough philosophy.  I am getting closer to having a place in which to carve stone.  You cannot believe my excitement!  I have much to do before my sun sets!  Enjoy my little self portrait in the setting sun on the Adriatic Sea.

Like nature images?  Check out Tantalizing Tasmania:

http://www.borsheimarts.com/news/2015_02_ArtNews-TasmaniaLandscapePainting.htm

Please share this with anyone you think might appreciate it!  Thank you.

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

Figure Drawing - Valentina Italian Model

On the 18th I started a new charcoal drawing of an Italian model named Valentina. She is a lovely girl, and I think a bit exotic looking. She is in a standing pose, with her left hand on her hip, while her right extends out to her front and side and rests on a short easel. I chose the back view of her because I love the dramatic lighting contrast. That said, I have also started a pencil sketch from the other side of the room, so that I can have more fun.

In this first collexion of images, you can see my quick gesture sketch. Here I work out my disegno in a small scale and decide how to create my image using “C” and “S” curves. Although I hope that I am getting better at sketching proportion without measuring, my goal at this stage is to make my choices before I start the actual drawing.

The middle image was taken of my 60-centimeter outline sketch of the figure. She has been given romance and architecture (curves for interest; straight lines for strength). In the image on your right, you can see that I have also outlined the shapes of the shadows.

In the second row of images, I have now colored in the shadow shapes, so that I may refine my shapes and design. I have also gone one step further by delineating the separate shape of the darkest darks in the model’s hair. In the close-up image (right), you may see what I am doing a little easier. Also, some of my mistakes are apparent, such as the upper right arm being too thin.

But, onward through the fog . . .

Sight Size Ecorche Drawing

I began to tell you of my sight-size drawing method progetto of the male écorché. Let me also explain that since my paper is smaller than the plaster cast that I am drawing, I have moved my easel forward to align the vertical placements of the original figure with where I desire to draw my figure. You may also note that I used a level to insure that the easel and drawing board are vertical.

I begin my drawing from a distance – the same spot marked on the floor so that my viewpoint is always the same (be careful not to wear high heels one day and flats the next!). I study, look, and visually choose the position on the paper that I wish to make my mark. Then I advance and draw on the paper, immediately retreating to my same viewpoint to see if I have made the drawing accurate. This is a slow process, because I do this starting with every height and width, often using a knitting needle in my fully extended arm to measure the original and compare to my marks on the paper.



In this photo, you can see that I have drawn the outline of the figure, as well as the shapes of the shadow areas. I must decide what is in shadow and what is in light. The lightest part in shadow will always be darker than the darkest area of the lights. This drawing process helps me to never lose my form, which is determined by tone (and edges). After creating the line drawing of the figure and shadow shapes, I then make all of the background near the figure dark. Then I can see more clearly all of the errors in my shapes. For example, the straight arm is way too thick. More to follow . . .

Light and Shadows in Florence Italy

Before Lisa and I ended up at The Art Bar in Florence last Friday night, we stopped in at a friend of a friend’s attic apartment to buy some sheets for my new room. (Oh, yes, I forgot to say that I found a nice room vicino the Teatro Verdi, not too far from my room with Grazia. I moved in early to help the situation with my old space and am now sharing with a cute young couple studying design here in Florence.)

But, I digress, as I often do. After we purchased the sheets I needed, Lisa and I did some exploring on the lower floor of this woman’s building. If I told you the address, I might have to kill you. (Nice, huh? Gotta protect the private.) I love going into all of the Italian homes and business spaces in central Firenze. This one surprised us both. While I was still photographing shadows in a hallway with a large vase and plant and looking for other hallways to explore, Lisa was curious about some beautiful wooden doors.

We were both delighted with the view below that Lisa discovered after she opened the doors. Pictured here is the beautiful window with a simple floral design that only partially hid a warm Tuscan-colored floor behind it. This is one way to add a bit of nature to a city of stone and concrete!

But then, look at the cast lighting from the hall lamp hanging from the ceiling. Lisa can definitely spot the cool stuff! The way the light hit the floor made the wooden floor look fluid. I hope you enjoy the images I took of the water-rippling floor and a bit of Lisa’s door on the left, as well as the image of the light that cast such a hypnotizing pattern. While the ceiling’s shadow is not quite as interesting, the contrast between it and the floor’s design is fun. So, when you visit Tuscany, do not forget to keep your eyes open for even the smallest pleasures. And definitely peek into open doorways!