Quick & Bold Graphite Studies

   by Lisa Larrabee

Graphite is a staple for any artist.  It can be used for a variety of purposes from doodles to stunning finished works of art.  It is stable, easy to transport and very forgiving.  It is also inexpensive and convenient. There's a good chance you are near a graphite pencil as you read this, so you can join in with the Art Challenge!  

Graphite can be used in a variety of ways.  For the purpose of creating quick studies, I will stick with a medium hardness HB pencil. You can also use a classic #2 yellow pencil with the pink eraser.  Nothing fancy is needed.

Negative Space (Why It's Such a Big Deal)

by Lisa Larrabee

If you do an online image search for "negative space drawings" you will find a tremendous number of examples that range from traditional academic exercises to very creative design solutions.  Variations of negative space exercises exist at all levels of drawing classes (whether or not it is explicitly labeled as such).  So, what is "negative space" and why is it such a big deal?

Facial Features: Mouth Study

 by Lisa Larrabee

When developing portrait drawing skills, it is important to learn to see the facial features as objectively as possible.  It can be difficult to set aside the symbols we have learned, and the associations we make with certain features, in order to observe them accurately.  Drawing from a plaster cast can help you to see the form more objectively, but the symbols can still creep in.  

Changing Perspective

by Lisa Larrabee

Bull Skull study I

Bull Skull study II

I frequently take the opportunity to draw alongside my students.  It helps me practice my drawing skills as well as provide an "extended demo" that students can refer to as their drawings progress.

Drawing General to Specific: Graphite vs Charcoal

by Lisa Larrabee

These are stages of a still life drawing that I did in graphite (pencil).  To begin, I lightly toned the entire drawing surface (white paper) with graphite.  Once basic shape relationships were in place I erased out the light shapes.  I built values using subtle hatch marks without blending.

Draw What You See General to Specific

by Lisa Larrabee

It is easy to say that you should draw what you see when your goal is to draw with accuracy.  However, it takes practice to truly observe the shapes, values and relationships as they are and not how we perceive them to be.

Pear Study

by Lisa Larrabee

This painting was done as a relatively quick study as a teaching demonstration.  The focus was on shape and shadow relationships.

You can see that this study began with a horizontal composition.  My painting surface is a sheet of paper canvas which is convenient for quick studies.  The surface was toned with a mix of Gamblin's Transparent Earth Red and and Phthalo Blue thinned with Gamsol (OMS).  The purpose of the blue was to neutralize the orange tones in the Earth Red.  I chose Phthalo simply because it is transparent as well.  

Two Pods: Painting from Life

by Lisa Larrabee

I was given some advice from an amazing still life painter, Scott Fraser.  He told me that I needed to paint from life.  It was the most obvious, yet necessary advice.  After seeing his paintings in person, I already knew that was exactly what I needed to do.  The richness in his work comes from observing what is in front of him without the limitations of the camera.  This is something I have known, yet I have found too many reasons not to follow this advice (limited time, limited space, expediency...).  I came home and saw my work with fresh eyes.  Eyes that saw the limitations of working from photography alone.  So, here is my goal.  I will be giving myself assignments.  I know where I want my work to go and I have a good idea of what it takes to get there -time and hard work.  Drawing and painting what I see without shortcuts.  The bottom line is that there is no such thing as a short cut when it comes to developing as an artist.

In the early stages, I experimented with a different way for me to block in the shapes.  I started on white, brushed on a thinned layer of transparent earth red and began wiping out highlights and pushing darks.  It was important to me that the shapes were accurate.  I used a view-finder to help keep the shape relationships correct.

Sketchbook: Little Shoes

by Lisa Larrabee

It must be my subconscious mind that is not prepared for my boys to turn 4. Foreshortening makes these look like baby shoes! (Although they are much more worn out). It wasn't until I stood that I realized just how much bigger the shoes are from most any other angle.

~ Lisa

Flat Brush Painted Sketch of Tangerines

by Lisa Larrabee

I gave this assignment for a 4"x4" value study painted with a 3/4"-1" flat brush in 50 strokes or less. Since I rarely use a flat brush, I decided I could benefit from the challenge also. The goal was to use deliberate thoughtful brushstrokes, but I confess I lost count. It was completed in less than 30 minutes and was fun to play in a different style.

~ Lisa

Available Artwork
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Sketchbook: Zipper & Key

by Lisa Larrabee

I am working on sketching everyday.  It's funny how it always used to feel like an assignment (because it was!).  Now, I am just enjoying myself.

~ Lisa

Sketchbook: Tangerines

by Lisa Larrabee

You have probably heard the best way to improve as an artist is to practice.  Paint or draw everyday.  Work from life.  Study.  Observe.  Repeat.  This is certainly not news.  In spite of this advice, I have never been good about keeping a sketchbook.  I always loved the idea, but never really committed to it (except to jot down thumbnails for future paintings).  I want to make this my new habit.  I hope to build some momentum by posting sketches with regularity.  If you don't already, I encourage you to keep a sketchbook too.  Best of luck!

~ Lisa

Available Artwork
Portrait Commissions
Art Classes & Private Lessons