FIGURE DIALOGUES WITH MARTIN CAMPOS
- Course is Open
- Instructor Martin Campos
- 5+ Hours of Dialogue and Demonstration
- 40+ Reference photos to work from
- Lifetime Access/Downloadable Content
- Private Facebook Group for students
- Course Price – $129
Are you an artist that is seeking to push artistic boundaries with how you see the human figure? Is unlocking the door to the form something you are striving for?
In this online offering, watch Arsenio Martin Campos as he demonstrates for you how he works directly from observation of the model. By working at a quick pace, Martin has learned how to use memory and speed to the best advantage in his work. Single figure studies and figure space compositions will be explored in charcoal, pastel, and then finally, paint.
The core of Campos’ work revolves around the figure — directly observed —- and as a point of departure for narratives. With years of solid training in observation and constant drawing, Martin has created a fluid and symbiotic relationship with the model as muse. He hopes that with this demonstration, he can impart this knowledge to you, the viewer and student.
This demo will allow you to watch Martin work much like he works in his studio at home with a live model. This offering is being called a demo because it is not an instructional video on the figure, but more a demonstration of how he completes his pieces in a studio from start to finish.
COURSE OPEN - SELF-STUDY
Lifetime Access - Download All Content
Cost - $129
DESCRIPTION OF VIDEOS
The process that I find effective for my current work is to use drawing as a tool to get to know the specific model that I am working with. By creating quick gestures over a period of time, I begin to understand the language of the person I am studying. If you were to go to another country, you would want to get to know the language and understand the people around you. Watch as I work from two separate models, gesture after gesture, as a way of getting to know them. My hope is that this will set me up for being able to capture something, hopefully of that person, in a longer pose. Observe how I use this process, as I work from two different models, to detach myself from the artwork and work in a truthful way.
Typically, in my own studio, I will work with a model for a long period of time, sometimes over a year or longer. I don't need to do the gestural drawings every time I work with them because I already know and understand their language. For the sake of time, for this demonstration, I felt it necessary to show more gestural drawings. Next, I move into longer poses. When I am working on longer poses or longer pieces with the charcoal and pastel, I will often overlap poses on one paper. During this part of the demo you will see me work on different colors of paper using a variety of pastel colors.
People often think that I am really good at color, but I am good at harmonizing, I am not good at color. I am more of a draftsman than a colorist. And the strength of my being able to draw the figure and know line well is the lion’s share of my ability to grasp color. You’ve gotta know how to draw the figure well by working from a model, exhaustively. And know value, know design, and know the nuances of what line does. The rest is, you could put anything on it and it will work.
My painting process is a very organic approach. I used to complete all of these figure drawings and then they would go into a box never to be looked at again. Then I realized that these drawings could be used as a point of departure, a very open vessel from which you can create from! That is what I have been able to do! That is really the crux of this demonstration. I want you to learn how to get more out of a drawing other than it just being a drawing of somebody or something, and it just stops there.
Paintings can take me anywhere from an hour to years to complete. In this part of the demonstration, you will watch as I get started on four separate paintings. I will show how I begin with a blank canvas, and how I begin to superimpose my figure drawings onto my canvas. You will see me paint, scrape, and roll paint onto the canvas as I wait for the painting to reveal itself to me. My process involves a lot of scraping and building up of layers. I hope that you find inspiration in this process and give it a go!
COURSE OPEN - SELF-STUDY
Lifetime Access - Download All Content
Cost - $129
MEET ARSENIO MARTIN CAMPOS - ARTIST
Martin is a pure practitioner of the form - drawn and painted. Dedicated to the perfection of balance, symmetry and gesture, he is continually evolving into an artist concerned with achieving the felt presence of the human figure and transcending the medium.
Having studied at the Pennsylvania Academy of the Fine Arts, Arcenio has influenced artists with workshops in South Africa, Ireland, New Zealand and Spain. He is currently based in the Delaware Valley region, working in Philadelphia, and is dedicated to impressing upon every student his enthusiasm and drive with what the form presents —— and inspire those who strive to document the human condition.
Martins standards are high and he judges his work to the masters - who themselves strived to unlock the door to the form. It has been this drive and strong tie to the past —-looking into the future —-that has shaped his work.
PRIVATE GROUP JUST FOR YOU!
This course will have a private Facebook group just for you! This is a place for you to share your work with other students and with Martin. Martin will be involved with the class via Facebook during the four weeks that the course is open!
Below is a list of the supplies that I will be using for the projects in this course. However, you are always encouraged to use what you have on hand.
- Model photos will be available when the class opens!
- Hahnemuhle Ingres charcoal paper
- Canson Mi-Teintes
- 20x20 Canvas
- Blick extra soft vine charcoal
- Cretacolor dry red chalk and black chalks
- Nupastel square pastels
- turquoise blue
- light reds
- Kneaded eraser
- Chamois cloth for rubbing out
- A limited oil palette of your choice - my preferred paints are gamblin
- Cadmium Yellow Lemon
- Indian Yellow
- Cadmium red light
- Quinacridone red. -- also.
- Brown Pink or Perylene red
- Emerald green
- Pthalo turquoise
- Titanium White - Old Holland brand
- Large brushes, a few soft 2 inch flat vareity, a few large number 8 or filbert brushes. NO TINY LINER BRUSHES. My favorite brushes are Da Vinci for the large flats, and Robert Simmons hog hair number 8 in flats and filberts.
- Odorless mineral spirits.
- Paper Towels.
- Disposable palette with tear off sheets
- Plastic gloves
- Painters tape
- Rubber color shapers
- Palette knives
IMPORTANT INFORMATION ON ACCESSING CLASSES AND SELLING WORK CREATED IN THIS COURSE:
**Upon purchasing your course, you will be asked to create an account. If you have already created an account, after purchase your course will IMMEDIATELY be available under “LOGIN” at the top right-hand of karabullockart.com.
**If your course does not show up, please email us at firstname.lastname@example.org
**Due to the nature of the immediate availability of the course, all purchases are nonrefundable.
**Please talk to the artist of the course about his/her policy on selling artwork created in this course prior to selling any works created during course. Some artists will allow it, while others do not. Thank you for your support.