David’s Ear

I recently finished a cast drawing of Michelangelo’s  Ear of David. In the previous cast drawing I made which was Michelangelo’s Lips of David, I worked rather quickly. This time I decided to take my time and really study the many subtle nuanced value shifts and render them as I saw them. It took quite a bit longer than the Lips of David cast but I’m happier with the results. I am now working on one titled Female Hand. It is a beautiful piece. I get most of my casts from Guist Gallery. I am presently in the beginning block-in stage of the drawing and am pretty excited, enjoying the process.

 

Michael a. Cooley, Michelangelo’s Ear of David, 2013, Graphite.

Michael a. Cooley, Michelangelo’s Ear of David, 2013, Graphite.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Well, I am working on more medical illustration paintings today and will be teaching this evening. I will be working on the Female Hand drawing this week along with a fruit and vegetable still life painting.

Until next time,
Michael

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Tomato

I have been wanting to start painting again on a regular basis but seem to haven’t been able to do it. I work as a medical illustrator during the day in my illustration studio. Once I get enough illustration work done, I go to my fine art studio, Cooley Studios and work on my projects, my independent study and I also teach drawing and painting to my evening and Saturday students. Difficult trying to find time for me to paint but I am trying to commit to painting for a couple hours on Tuesday, Thursday and Saturday.

I am now working on simple painting exercises as a way of encouraging me to keep a consistent schedule. Below is a basic painting I recently made of a tomato. I have a ample supply of faux fruits and vegetables to use as models. I will try to make a painting or two every week and post them.

Michael A. Cooley, Tomato, 3/2013, Oil This is a painting daily painting exercise to keep my hands and eyes sharp.

Michael A. Cooley, Tomato, 3/2013, Oil.
This is a daily painting exercise to keep my hands and eyes sharp.

I am pleased with the painting and will continue onward. For this painting I used the wipe out method. I painted my canvas with a good layer of raw umber and with a piece of rag wrapped around my finger, I pulled out the halftone, light tones and highlights. I left the darker areas of raw umber for my shadow and cast shadow areas. I actually add a little black to the umber for the cast shadow area. Once the underpainting dried, I proceeded to paint in full color in layers. After the finished painting dried, it sunk into the canvas and became dull. I applied a coat of oleogel (I leanerd that tip from my mentor, Marvin Mattelson) to bring the luster back to the painting.

Until next time,
Michael

 

 

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Caricatures.

Throughout my career as a professional artist and even before, I really enjoyed making caricatures. Sometimes I make them and send them to friends in the form of a card or just as a way to make them smile. There were quite a few occasions while working as a medical illustrator in the different medical institutions I’ve worked, I was asked to make caricatures of various staff in various departments who were to be honored for an accomplishment, retirement or as part of a job. I always enjoyed it.

Michael A. Cooley, Art Walk, 1999, Digital.
This is a logo I was commissioned to create for the Galveston Texas Art Walk on the Strand. The walk is pretty much the same as any art gallery hop held on one Saturday of each month. The event was always fun, new people, new art and wine and cheese.

Michael A. Cooley, Bring It, 2000, Crowquill Pen and ink and Digital.
This is a T-shirt design I was commissioned to create for a High School girls basketball team in Houston, Texas.
© M Cooley

Michael A. Cooley, Ice Cream Girl, 1996, Croquill Pen and Ink and Digital.
This was a label I was commissioned to created for a start up ice cream company in Galveston, Texas.
© M Cooley

Michael A. Cooley, Long Time Coming, 2001, Crowquill Pen and Ink and Digital.
This was a comical caricature illustration I was commissioned to create for Dr. Joseph Gugenhiem of the Fondren Orthoped Group in Houston Texas.
© M Cooley

Michael A. Cooley, Weddiing Day, 2004, Crowquill Pen and Ink and Digital.
This caricature was a commission created for Dr. Mark Brinker of the Fondren Orthopedic Group in Houston, Texas. It was a gift to his brother who was getting married.
© M Cooley

Michael A. Cooley, Lil Santa, 1995, Pen and Ink and Digital.
This is one of my Christmas cards I created to send to friends.
© M Cooley

 

Until next time,
Michael

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Art Classes In Columbus Ohio !!!

Sign up today to study Drawing and Painting with Michael A. Cooley at: Cooley Studios In Columbus Ohio!!! 

Michael age 5Art Classes are offered:  3 times per day, 1 class a week. Each class lasts 3 hours per session for 6 consecutive weeks. We can accommodate 4 to 8 students per class.

Weekdays Class times are: 10 am to 1 pm, 2 pm to 5 pm and 6 pm to 9 pm.

Saturday classes times are: 10 am to 1 pm, and 2 pm to 5 pm.

 

Classes include: click on hyperlink for class description, time, registration and cost.

Drawing Fundamentals

Still Life Drawing

Figure Drawing

Oil Painting I

Oil Painting II

 

Until next time,
Michael

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Independent Study Marches On!!

At times it is difficult for me to post assignments I’m working on because of my schedule. By day, I’m working on medical illustration assignments. You never know what will come in and that keeps things fresh. Sometimes I am asked to create simple anatomical drawings and other times, complicated surgical drawing depicting important procedures for surgical atlases.

In the evening, I am usually teaching, working on commissions or continuing with my own classical art independent studies. Thanks to my artistic training in engineering graphics/drafting, medical illustration, design, commercial illustration, fine art and classical portraiture, I feel at ease with all commissions I take in.

Finally, I have time to add a few newer post. I’ve made one more Bargue drawing, a copy of The Belvedere Torso. After the torso drawing, I made a drawing of the antique plaster cast, Michelangelo’s Lips of David. Im presently working on Michelangelo’s Ear of David along with a few orthopedic patient educational illustrations for one of my orthopedic clients.

 

Michael A. Cooley, The Belvedere, 2012, Graphite. © M Cooley

Michael A. Cooley, The Belvedere, 2012, Graphite. © M Cooley

Michael A. Cooley, Lips of Michelangelo’s David, Graphite, 2012, Independent Study.

Michael A. Cooley, Lips of Michelangelo’s David, Graphite, 2012, Independent Study.

 

In the coming days I will be posting some of the medical illustrations I have been working on, some very recent and others from older assignments that I hope you will find both informative and interesting.

 

take care,
Michael

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Portraits Over The Holidays

Just before the Christmas Holiday, I was commissioned by one of my medicolegal clients to make portraits of his children. He and his wife wanted one of each of their four children, done in graphite.

Michael A. Cooley, Grace, 2012, Graphite

 

Michael A. Cooley, Ben, 2012, Graphite

 

Michael A. Cooley, Rose, 2012, Graphite

Michael A. Cooley, Joe, 2012, Graphite

 

take care,
Michael

 

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Self Portrait

Its been awhile since my last portrait drawing. I decided to make a self portrait of one of my favorite pictures. Its me at 5 years of age. This drawing was done using graphite pencil HB, 2B and 4B for dark accents. The paper I used is Strathmore drawing premium recycled medium surface paper, 18×24 in, 400 series.

The method I used to create my self portrait was the block-in approach with comparative measurement. It took 30 to 40 hours to complete. No tracing, no projections nor grid system was employed. Exclusively classical drawing technique. Ive been constantly drawing, developing my hand and eye since Hartford Art School.

Michael A. Cooley, Michael Age 5, 2012, Graphite

Michael A. Cooley, Michael Age 5, 2012, Graphite

Instead of using my digital camera for this image, I had it scanned professionally at 600 dpi. Of course I had to adjust the contrast with curves using Photoshop. I think I will rescan all of my previous drawings and repost.

 

take care,
Michael

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Another Bargue drawing

I have been working on another Bargue drawing for my independent classical art study. This is a copy of a the Bargue drawing, Macus Brutus. I have one more Lithographic drawing to copy and then on to drawing plaster casts in the round or from life.

Michael A. Cooley, Marcus Brutus, 2012, Graphite, Independent Study

Michael A. Cooley, Marcus Brutus, 2012, Graphite, Independent Study

 

take care,
Michael

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Recently started figure drawing

 

Its been over twenty years since I regularly made figure drawings. Needless to say, I felt pretty rusty but as I began sketching, I felt a sense of relaxation returning. Im not where I want to be but I certainly feel it coming back.

During my undergraduate days at Ohio State University, I regularly made drawings of figures in my life drawing courses. I was a natural and one of my biggest desires was to learn to draw and paint like the old Renaissance Masters, but I didn’t know where to get that type of training. My art instructor Pheoris West encouraged me to go into medical illustration. Thankfully, I did. Because medical illustration is an atelier teaching drawing and painting of medical content, it was a great study which helped me become a good researcher, draftsman and artist.

Michael A. Cooley, Female Figure, 1989, Graphite.

Michael A. Cooley, Female Figure, 1989, Graphite.

This is a drawing I made years ago. I was a young medical artist in my first job working at the University of Cincinnati Medical Center. After work I would practice drawing figures. At times I would join a group of artist at the University for open model night.

As I delved deeper into my career as a medical illustrator, I stopped figure drawing. I didn’t pick it up again until 2009 during my first year of graduate school at Hartford Art School at the University of Hartford in West Hartford, Connecticut. It was at Hartford Art School where Dennis Nolan, one of my professors challenged me to produce good effective drawings. He gave me a drawing demonstration and I was blown away at his drafting ability and knowledge of the human form. He also introduced me to classical art, the atelier system and artist’s like Jacques Louis David, Paul Delaroche, William Adolphe Bouguereau, Alexandre Cabanel, Jean-Auguste-Dominique Ingres, Sir Lawrence Alma-Tadema, Diego Velazquez, Franz Hals, Jean Leon Gerome, Charles Bargue and Émile Friant. After spending time with Nolan, I made a commitment to working on my drawing and painting.

These figure drawings are not what I consider good, but rather an honest attempt to re-introduce myself to regular figure drawing. I decided since I hadn’t been drawing for more than 15  years, I would begin with a series of 1 minute gestures to ease my way back into the practice of drawing. Thanks to a friend who kindly modeled for me.

Figure Model 01

Figure Model 02

Figure Model 03

Figure Model 04

Figure Model 05

Figure Model 06

Initially I felt very clumsy with these gestures for the simple reason, as a medical artist, I had been making very tight detailed drawing and paintings. In working with gestures, I could begin to loosen up and work freely.

After working for a few days exclusively with gestures, I decided to try my hand at another approach. It is called the blind contour method.  I would give myself only 20 minutes to make the next series of drawings. In limiting my time, I would be forced to forget tedious detail and work in a loose manner. I would also challenge myself to look at the subject and with my eyes traveling contiguously along the contour of the figure, use the pencil to follow on paper what I was seeing. The objective was to keep my eyes on the subject 80% of the time while drawing on paper what I was witnessing. I could only look down at my paper if I felt lost and with only enough time to get back on track. The next set of drawings were made using this approach.

Figure Model 07

Figure Model 08

Figure Model 09ab

Figure Model 10

Figure Model 11

Figure Model 12

Figure Model 13

Figure Model 14

Figure Model 17

Although some of the figures look a bit elongated, I was very happy with the results I was getting using the blind contour contiguous approach. I then began to use the comparative measurement approach. I would look at my subject and make a stationary measurement as a control (example the foot to the knee joint). I would then use the control as a unit to measure all parts of the subject. In taking the controlled unit, I could make accurate comparisons. The next few drawings were made using the comparative measurement approach.

Figure Model 18

Figure Model 19Figure Model 20

I have always used comparative measurement when drawing especially as a medical illustrator.

There is another method I employed on my next set of drawings. This approach is called the block-in, straight line, gestural or envelope block-in. The way it works as I understand is to carefully look at your subject, mark off the highest and the lowest limits of the subject on your paper (top of the head to the bottom of the feet). Then using a limited amount of straight lines (using plumbs, tilts and point), create an envelope that encapsulates the entire figure. Next, subdivide the envelope focusing on shapes. Eventually you will keep breaking down the envelope until it accurately resembles your subjects contour, but in linear straight line (no curves at this point). As you continue, you will eventually work the straight lines until you have created a very accurate organic contour. Once you have created a good contour, you will begin working on the inside of the contour. The next few drawings were made using the block-in method.

Figure Model 21

Figure Model 22Figure Model 23

I must say, I am happy with the block-in method. As a matter of fact, I now use the block-in with the comparative measurement method for all of my drawings. There are many ways to approach a drawing but there is another very good method or approach to attain accurate proportion while drawing. It is the Construct method. It is a very good method and I intend to make use of it as well. This method is also used in concert with comparative measurement.

take care till next time,
Michael

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Value/Grayscale Exercises

Proficiency comes after successfully completing numerous linear Bargue drawings. It is now time to work on light, form and value.  Making the Munsell grayscale chart is a great way to understand value, shading, and develop a soft touch. The next exercises and drawings will demonstrate the importance of the value scale.

Michael A. Cooley, Grayscale Chart, 2012, Graphite, Independent Study.

Michael A. Cooley, Grayscale Chart, 2012, Graphite, Independent Study. This is the Munsell grayscale chart and seamless grayscale strip used to help the artist understand value. It is critical for an artist to understand light, form and value. Light, form and value are the basic elements that gives a drawing realistic 3 dimensional appearance.

 

 

 

 

Michael A. Cooley, Sphere, 2011, Graphite, Independent Study. Drawing the sphere is a great exercise for teaching light and how light affect form. When an artist begin making a tonal spherical drawing he/she will notice how light shines on the subject. The sphere will display highlight, light, halftone, shadow, core shadow, reflected light, cast shadow. In the cast shadow there will be a darker (umbra) and lighter area (penumbra).

Michael A. Cooley, Sphere, 2011, Graphite, Independent Study.
Drawing the sphere is a great exercise for teaching light and how light affect form. When an artist begin making a tonal spherical drawing he/she will notice how light shines on the subject. The sphere will display highlight, light, halftone, shadow, core shadow, reflected light, cast shadow. In the cast shadow there will be a darker (umbra) and lighter area (penumbra).

After successfully gaining the necessary experience of making the Munsell grayscale chart, the seamless value strip and the sphere, I was ready to move on to the next set exercise, copying the Bargue tonal lithographs.

Michael A. Cooley, The Foot of The Gladiator, 2011, Graphite, Independent Study. The foot of the Gladiator is a Bargue lithograph drawing of an important sculpting. Art students from classical academic programs regularly make copies of the Bargue lithographs prior to taking on the task of drawing plaster casts.

Michael A. Cooley, The Foot of The Gladiator, 2011, Graphite, Independent Study.
The foot of the Gladiator is a Bargue lithograph drawing of an important sculpting. Art students from classical academic programs regularly make copies of the Bargue lithographs prior to taking on the task of drawing plaster casts.

Michael A. Cooley, The Psyche of Naples, 2011, Graphite, Independent Study. The Psyche of Naples is a beautiful drawing made by Charles Bargue. Many students chose to copy this drawing. Though moderately complex, copying this drawing further builds upon the skills aquired from drawing The Foot of The Gladiator. This is my rendition.

Michael A. Cooley, The Psyche of Naples, 2011, Graphite, Independent Study.
The Psyche of Naples is a beautiful drawing made by Charles Bargue. Many students chose to copy this drawing. Though moderately complex, copying this drawing further builds upon the skills aquired from drawing The Foot of The Gladiator. This is my rendition.

 

take care until next time,
Michael

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