Learning to Paint Drapery like Leonardo da Vinci
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- čas přidán 2. 01. 2020
- In this video I try to make a study of Leonardo da Vinci's Drapery study from the Louvre Museum.
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For this painting I used the following materials:
Oil colors(Ivory Black, Lead White, Hansa yellow deep), Linseed oil,
Brushes:
main blending brush is a cheap 7/8” no 8 round camel hair watercolor brush I literally found in the garbage but can be had from most art supply places.
Size 6 Kolinsky Sable fan brush
Size 0 white nylon liner
Size 4 Sable filbert
Linen, Acrylic gesso, 10x9” Plywood board, graphite transfer paper.
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Leonardo studied with the Florentine sculptor Andrea del Verrocchio and remained in his workshop after his apprenticeship for several more years. As might be expected, the pupil absorbed the master’s manner of drawing. Giorgio Vasari writes that Leonardo specifically copied from Verrocchio “heads of women, beautiful in expression and in the adornment of the hair.” In addition, Leonardo absorbed from the older artist a number of distinct drawing skills. During the 1470s, Leonardo learned from Verrocchio to make drapery studies on fine linen in brush and ink and gouache in order to reproduce the fall and flow of cloth around the human body. The most celebrated of them, Drapery Study for a Seated Figure (figure 3-1), was one of nineteen exhibited at the Louvre museum in 1989.
Paradoxically, Leonardo’s approach was anything but naturalistic. The cloth to be studied was first moistened in wet clay, then arranged around a clay mannequin, and stiffened. In reality, the drapery studies are essays in modeling, the use of chiaroscuro to build solid form-the realm of the sculptor. Instead of hatching lines, smooth gradations made possible by a soft brush separate light from dark. The grand masses in Drapery Study for a Seated Figure emerge from darkness, and like many of the other drapery studies seem to glow in moonlight. The eerie highlights give no clue about the texture of the material. Leonardo subsequently began writing a treatise on chiaroscuro and the mysteries of light, subjects that became a hallmark of his art.
[from Thomas Buser's textbook History of Drawing]
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Some of these comments are just silly; this type of work is incredibly important in the development of technique. It is easy to take paint and apply it on a canvas and pronounce it as practice. When you emulate the work of a painter such as da Vinci there is no hiding space; you have to observe, act and reflect. It is far more difficult to conduct this type of study than any other. Once you have learned this then you can move away into other technique. I am in awe of those who do practice this way - I lack both the physical and mental discipline, as well as the patience to do so. I have subscribed.
You're way off pal, Leonardo wouldn't have painted drapery the way you have demonstrated. And it would be a day's work, not one week. You'd have been better off doing a charcoal or graphite.
It would be different if you weren't tracing the initial subject
So today I’m waiting for a report to run and while I wait I spot on my bookshelf an old book of Da Vinci drawings and find myself looking at this exact same ‘drapery study’. Now hours later this pops up in my suggested videos.
This is nothing about how Leo painted; it merely mimics his result- except he knew the intended uses of brush types.
I'm a year late, but this just popped up on my youtube today. This is amazing. I subscribed. I don't understand the snarky comments. My mother is a artist and is trying to teach me and we both transfer images to canvass the same way. We don't even make our own canvasses, we buy them from the store.
I've watched several different people on here painting fabric and everyone does it differently. One artist and teacher advises to paint the dark areas first and to not blend anything until the end. Someone else advises not to paint on a white canvas. It can get confusing if you try to follow everyone's techniques.
You did this the easy way, by transferring the original to the canvas. I would have liked to see you doing it yourself. Can you?
I say, the drawing methods should be left up to the individual's comfort level with many materials and devices available today. However, drawing from sight will train you to draw from imagination. The old masters had no choice, thus their work was technically superior.
"Wherefore, O Painter do not surround your bodies with lines, and above all when representing objects smaller than nature for not only will their external outlines become indistict but their parts will be invisible from distance" Leonardo's notebooks "H.Anna Suh" writing and art of the great master recommendet
One of the difficult techniques to be able to make drapery folds.
This is amazing. The amount of patience and dedication and skills says a lot about you. Thank you for this treat of a video! 🥲❤️
Thank you. Very useful, beautifully done and endlessly instructional.
Amazing brush work. Great demonstration
Outstanding! Beautiful work! Thank you for your demonstration. I have struggled with fabric for sometime and have often avoided it. Thank you!
I am a huge fan of yours-I love them all, but I particularly like your Velàzquez and Sargent videos. I have our students (Angel Academy of Art, Florence) watch them as further studies into what they are learning in class (a 3-year full-time professional-painting programme).
I can't believe channels like this exist. Thank you.
Thanks for the closeups!
A huge thank you!
Fabulous all comes together.....now in large