Week 2.

After watching the demo of importance of line weight I am very confused. Stan is drawing exactly like he has told us not to. His fingers are scrunched down near the point of the pencil and instead of making a single, swift confident line, he is making short repeated sketch marks as he has told us not to do. I wish we could ask questions.

My goal is to be able to compose any paintimg I desire to make. I want to paint with my traditional art skills but innovate with modern perspectives, however I finf myself unable to do it. Artschools in my area are not very good and they do not teach fundamentals. To be able to be as grand as the old masters I need them and therefore I hope to get a grasp on perspective with this course. I bealieve that in fine arts perspective is crucial but since they tend to stay traduonal they do not challenge the limits of it. Some great masters i admire are this: 1. The coronation of Napoleon by Jaques Louis David. Indeed this painting needed not only perspective but a great control of anatomy. 2. The raft lf the Medusa by Gericault. Its simply magestic all the bodied in a priamidal composition with such a good perspective. 3. Las meninas by Velázquez. Not only is Velázques spontanous strokes grandid but also his perspective that its just on point. In all this paintings perspective is not expolded to maximum potential, however the fact that its correctly done brings a balance to the eye which makes the painting majestic

The imagination drawing it's a bit weird, but I'm happy enough to post it and continue with the course.