TAD Faculty Introduction: Carl Dobsky

[Carl Dobsky]

Please allow me to introduce myself. I'm a man of wealth and taste. I've been around a long, long year and stole many a man's soul and faith. I was around when jesus christ had his moment of doubt and pain, made sure that pilate washed his hands and sealed his fate. I stuck around St. Petersburg when I saw it was time for a change, killed the czar and his ministers while Anastasia screamed in vain. I rode a tank, held a general's rank when the blitzkreig raged and the bodies stank. Contrary to popular belief, I had nothing to do with the Kennedy's.

But seriously now.

For those of you who haven't guessed my name....it's Carl Dobsky. I've been working as a concept artist with MassiveBlack for a few years. I've also been
showing in various fine art galleries around the nation and internationally. I've been running the Next-Gen Atelier for the last few years (which has been
ConceptArt's private school).

I believe that the ideals of the Art Department are in line with my own. That is to say that all forms of visual arts share the same fundamentals and that there is
no real difference between the particular branches save those that a particular job requires. I also believe that for someone to really learn these fundamentals
that guidance from someone who is working in the field is crucial for success. This team can deliver on that.......or my name isn't Carl Dobsky.



Anyway...Pleased to meet you.

[John English]

Carl-

These paintings are gorgeous, it's fun to see them up on the site. I had the opportunity to see several of them in your studio last month along with some of the process work. They look great on my monitor and they really hold up in life. The paintings have a great tactile quality.

When you get a chance post the rest of the cityscapes that you had in the studio, they are awesome!

John

[Brent Watkinson]

Carl,

I saw a lot of these images in your studio recently. You certainly know how to take advantage of what oil paints do well. The translucency and transparencies are a wonder to behold. They are rich, luxurious, and so well drawn they make me jealous! I can't wait to see more.

The color is phenomenal.

Oh, and you know I love the "urban clutter" of your cityscapes!

Brent

[Ian Barker]

These are really beautiful. The composition on the fan is amazing.

[Serpian]

EDIT: In the spirit of not being offensive: Those are some juicy DUUUDES

[el coro]

oh Carl, i've learned so much from you over the years. you're pushing into some interesting new territory, and i likes it.

keep shining!


c36

[George Pratt]

Carl,
Man, love the paintings! It was great to get to know you a bit through the class we did together awhile back. I absolutely enjoyed working with you and listening to your insights on Repin and art. Looking forward to more of everything!

George

[Carl Dobsky]

Thanks, George!!

It was awesome doing that class. Your examples were suh-weeet.

Serpian-- be patient. The pictures of chicks will be there soon. I promise.

[Mr.Blonde]

Carl loves slayer. Carl is one of the most hardcore painters I know. He lives and breathes painting. He's extremely devoted to his craft and will surprise you with the depth and breadth of his knowledge. If you can fit him into your mouth, he's the best teacher you've ever had.

[steak-tron]

Carl has the ability to make more than one beautiful painting every six months and drink more than one drink in one sitting. I have the ability to make understatements.

haha



business!

[anitakunz]

These paintings are absolutely beautiful. Great work.

[Carl Dobsky]

Hmmmm.....you're right. That approach probably wouldn't work.

It was just a joke though. I hope you will all forgive me.

And even though I may be a vulgar man, my teaching will be of the most refined nature and uphold the moral fiber of our youth. I promise.

Thanks for the compliments y'all.

Since I'm not good with formal introductions, I'd love to answer any questions that folks may have. So go ahead and shoot if you got 'em.

[Serpian]

Questions:

I've heard a lot of artists say that the one artist supply you shouldn't be stingy about is brushes. Do you agree? What kind of brushes and what brand would you recommend for the beginner in oils?

Do you always use live models for your fine art pieces? If you use photo-reference, what do you do to avoid the photo-dependent look?

One of the biggest challenges I meet in my fledging attempts with oils is the actual application of paint and controlling the strokes, edge quality etc. Do you think it is possible to teach or guide in this over the internet, without the ability to show how it's done hands-on?

[Pavel Sokov]

You have far too much skill. It sort of upsets me actualy

[Carl Dobsky]

Hey Serpian,

Good questions.

Yeah. Do not be stingy with brushes. They are the tools that actually put the paint on the surface. The better the quality of the brush, the better the control of your technique. If you have a crappy brush it would be the equivalent of painting a digital image with a mouse instead of a wacom tablet. You dig?

I actually use whatever I can to make images. I'm not dogmatic in this respect. I think working from life is by far the best but there are interesting things to be learned from photography as well. I also make things up. Usually an image is created from a combination of things. It almost has to because what it is that you want to express rarely exists already arranged for you in nature.

I do think it will be possible to guide people over the internet. I can't say for certain how much can be done because I've never tried it before. However, we are combining the on-line aspect with workshops throughout the year so that hands on training will accompany this. The combination of the two will make it possible for some serious learning.

[i hate art]

do you think there is any inherent value system we should follow or are humans free to create their own?

[Carl Dobsky]

By inherent value system do you mean something along the lines of right and wrong that are intrinsic to the universe, established by a divine being, etc. that is independent of human constructs?

Joking aside, is the question going to pertain to art or aesthetics or do you just want an existential rant? If it's the latter then let's put that question in the lounge. If it's going to be about whether or not there is some inherent value in aesthetics then I'll seriously answer it.

[anitakunz]

No worries...I just want parents to know that we are an egalitarian school. Everyone should feel comfortable here. I'm so thrilled that there are so many students from all around the world.
And Carl I love your work!

[Irishdrunk]

Hey Carl, big fan ^

Are you still going to teach at the Atelier? Or is everything being moved to TAD?

[Serpian]

So, while it isn't (as Elwell would say) all about the Magic Markers, I'm still not doing myself a favour by using cheap brushes. The trouble is, where I live there aren't any good art stores, so finding good brushes would be a matter of mail order. Are there any brands you recommend? Or should I buy one of each and try to figure out which one I like?

What is the chief difference between a cheap and expensive bristle brush? Longevity? Or is the expensive one better even when compared to a new cheap one?

Hey, you asked for questions!

[Carl Dobsky]

On some level it's a matter of taste. Also certain shapes of brushes do different jobs. So you have to try them out.

But generally speaking, a good brush has a decent amount of spring to it. They also hold their shape well and the hairs are glued well into the ferrule and don't just fall out all over the place.

I use a lot of different brands. I'll list some in a bit. I have to go read what they say on the handle.

[localfatheaded]

I feel lucky to have seen these pieces in person, absolutely amazing!

[inkdrop]

oh boy oh boy oh boy, really pumped for this coming weeks classes. I have you perspective downloads and have watched them several times. I learned more from your vids than in 2 years of college. Very excited to learn more from you.

[Ian Barker]

Hi Carl, I just watched your cast drawing presentation on demand and enjoyed it a lot! I just had a couple questions I hope you won't mind answering.
1. Do you usually do rough sketches for cast drawing before doing the final? I noticed lots of what seemed to be thumbnails in the slides.
2. When you begin to render, is it best to start with the dark shades and work your way to the light, or start with the light and layer up to the dark? In your presentation it looked like you started by blocking in the core shadows, but I've had profs recommend starting with the light and building up.

[GriNGo]

Hey Mr. Dobsky, a question.
What do you think about a student that exagerates proportions in your classes? Do you hit their hands with a ruler or is it ok with you? Do you ever ever try "break" the realism "habit"?

[Murdoc]

Hi Carl,

First off thanks for teh class on process, the insight into the care you take not only on the technical side but the idea side really shows you f@#$ing love what you do and it totally comes out in the examples you've shown.

The way you explains the difference between technical skill and idea was pretty damn amazing and the insights are appreciated.

With that, I have a really basic technical question about that transfer of your drawing to canvas; for some reason I'm still not getting it.

1. Make a drawing
2. Photocopy it
3. Smear paint on the back side of the paper(?) brush/cloth/whatever?
4.Then stick it down to the cavas paint downwards... then? Like to you just press it down, or like trace over the drawing with the paint down? This is where I get a bit confused.

Thanks again for the class and possible future clarification on this

[Carl Dobsky]

Hey Mr. Dobsky, a question.
What do you think about a student that exagerates proportions in your classes? Do you hit their hands with a ruler or is it ok with you? Do you ever ever try "break" the realism "habit"?

Hey Gringo,

I don't allow students to exaggerate proportions in my classes or try and break the realism "habit". Understand that I do think that stylization and idealization have a long pedigree from Michelangelo to Anime and that there is a lot to be said for this type of expression. However, it is not what i'm interested in and consequently not what I teach.

[Carl Dobsky]

Hi Carl,

First off thanks for teh class on process, the insight into the care you take not only on the technical side but the idea side really shows you f@#$ing love what you do and it totally comes out in the examples you've shown.

The way you explains the difference between technical skill and idea was pretty damn amazing and the insights are appreciated.

With that, I have a really basic technical question about that transfer of your drawing to canvas; for some reason I'm still not getting it.

1. Make a drawing
2. Photocopy it
3. Smear paint on the back side of the paper(?) brush/cloth/whatever?
4.Then stick it down to the cavas paint downwards... then? Like to you just press it down, or like trace over the drawing with the paint down? This is where I get a bit confused.

Thanks again for the class and possible future clarification on this

You've got the right idea.

Step 3- just make sure the paint is very thin and just barely enough to coat the paper in an extremely thin fashion.

Step 4- don't stick it down. Use some masking tape to hold it in position and then with the paint side down trace over the drawing. It will transfer it exactly like graphite or carbon paper.

[GriNGo]

Hey Gringo,

I don't allow students to exaggerate proportions in my classes or try and break the realism "habit". Understand that I do think that stylization and idealization have a long pedigree from Michelangelo to Anime and that there is a lot to be said for this type of expression. However, it is not what i'm interested in and consequently not what I teach.

Thanks for your answer!

[mrk147]

Hi i am mark and i am so glad to be part of this forum Thanks