I really like the first 8 or 9 posts. They seem a bit more...dynamic than the rest. Maybe you shouldnt concentrate on copying the model, but exaggerate it a bit. By this I dont mean just the pose, but also the rhythm of the anatomy. You do know smth about anatomy, so try and play with it a bit.
Especially in your 19th post, I dont see much rhythm or weight there. The characteristics may not be so obvious on the model, thats true, but you'll find them if you look and think about the pose. Whats making this pose interesting, whats the model doing, how could I push the rhythm a bit, etc.
When drawing, most humans(including me) have the tendency to straighten things up. I can see that clearly in post#19. The neck, the back, the head etc, almost one line. One direction.
You could easily make that a bit more interesting by, maybe, pushing the torso to the left a little, get the head and neck a bit more to the right, and get the pelvis to the right as well, so that the feminine forms may be more obvious. This is just a suggestion, however.
I really like the construction drawings in some upper posts, where you draw basic shapes and stuff. Thats a great way to learn anatomy, and to really understand whats going on with the muscles there Also, you really work around the form of what youre drawing, I like that a lot and it gives them a lot of volume.
So, I think youre definitely on the right track (from what i can say, being a bloody student myself), and all you have to do is to take the next step
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The Following User Says Thank You to KingElvis For This Useful Post:
KingElvis: Thanks a lot for the critiques and suggestions. Capturing the gesture dynamically and with rhythm is one of my goals -- the other one is giving solidity to my drawings --, and I really agree with everything you said. Sometimes,when sitting in front of the model, I find it hard not to copy it -- and poorly at that! --, and when that happens, the very process of drawing feels different to me; I do not feel as immersed in it as when, for example, I am trying to draw something from imagination or when I am sketching from life casually as it were, without the weight or obligation of getting things "right". I have to find a way to start looser, to observe while at the same time freeing myself from what I am observing.... so far this has been a hard balance to find.
Here are this week's life drawings. The first two are 2 minute gestures, then one 10 and two 20's.
I'm also including some quick (2-3 minutes) sketches of people at the life-drawing sessions done in the intervals between poses. I know they're messy and riddled with problems, but while doing some of these, I felt that "immersion" I talked about above -- the immersion I cannot quite feel when drawing from the model-- and because of that the whole process was much more pleasant; it was as if I could feel the creative effort as I jotted down my lines, and each decision, each choice -- even the unfortunate ones -- was in its own way rewarding. I'll be trying to transfer this attitude to drawing from the model next time.
As always, suggestions and critiques are much more than welcome. Feel free to be as honest as possible -- I see no better way to learn
Quick feet studies from imagination. Apologies for the slightly bizarre result -- I decided to try my hand at some perspective and foreshortening as I went...
I have the feeling I am beginning to understand how to use overlaps and how to place forms in space... but I am still having great difficulty with the "technique" part of it -- that is, how to use the medium (in this case a ballpoint pen), how to improve my markings on the paper. I am not sure if I should be more careful with my lines next time, because what they seem to be lacking is a sense of fluidity, of rhythm, and there seems to be something in being "more careful" that goes against this fluidity I want to achieve.... :/ any suggestions on how to overcome this impasse?
Last edited by bkkm; October 18th, 2009 at 02:45 AM.
hey man great stuff going on here you've got a pretty good thing going on here you should keep up with it. What i would suggest is that you get to some more of the scientific parts of the anatomy to understand all the deep layers as well, so you know which muscles show when, and which ones will be flexed, et cetera.
for that i would recommend
Artistic Anatomy by Dr. Paul Richer and Robert Beverly Hale
and that you read up on some of Leonardo's notes and works
The notes from the vitruvian man
and an online version of da vinci's treatise on Painting, which includes sections on proportion and anatomy, which im currently reading through myself
enjoy! and keep at it
The Following User Says Thank You to SweetPea For This Useful Post:
SweetPea: I have Leonardo's notebooks, and I should indeed give more attention to it than I have so far. Richer and Hale are great too. Hale in particular has been of great help to me (even though it doesn't show that much in my drawings yet!). Thanks for the suggestions!
Here is a 15-min portrait study after Rubens. It's full of errors -- the eyes and the nostril (which was drawn with a horribly over-emphasized edge and completely out of perspective in relation both to the face and the nose) are only the most glaring ones, I think --, which I could not fix since it was all done directly with a ballpoint pen.
Last edited by bkkm; October 25th, 2009 at 11:33 AM.
Here is a close-up of the previous drawing to show how I handled the lines and markings. I made a conscious effort to put down more rhytmical lines this time, though I'm still far from happy with it... the lines seem always too messy, too chaotic, and I don't think blaming the medium would be most constructive way to go about it. Any suggestions on how to improve those would be very, very welcome!
Last edited by bkkm; October 25th, 2009 at 11:35 AM.
I have a pretty messy line myself, but Id suggest, that, maybe try to go about drawing the way you did with those gestures in post 9...but i dont really know where you wanna go with your line. What do you wanna change?
As far as im concerned, Id worry about the right knee (the patella should be more to the outside!).
The left arm looks a bit strange too. I didnt notice it at first, but if you look closely, you see that the outer side of the forearm is a bit too "heavy"., (damnit, i dont know the name of that muscle..^^). but the overall drawing isnt bad and theres no "straightening up" in there, which is good!
Stick to it man, itll pay off!
hope i could help a bit.
The Following User Says Thank You to KingElvis For This Useful Post:
KingElvis: Thanks for the comments! And yes, you're absolutely right about the right knee. Knee is one thing (among many others!) I need to give more attention to.
Here are some feet from imagination. Trying to understand the bigger shapes and turn them in space.
Definitely on the right track. Agree. Push gesture when possible. Here's another excellent book for you. I push this alot in my class: The Figure by Walt Reed. This is a thorough explanation of using a mannequin type idea to construct the figure. You are already doing this by thinking of the big shapes. The book will help you to apply this concept to understand how the parts fit in a body without the distraction of muscles. This is the 1st step. Anatomy, which is 2nd, will enhance your understanding of the basic figure construction.
The Following User Says Thank You to AztcFireFlower For This Useful Post:
very nice. Curious, which reference are you using for your constructive anatomy? It looks quit Vilpuu-ish. Is that what you're using?
I'm horrible at creating dynamic gestures, any suggestions?
The Following User Says Thank You to jt4470 For This Useful Post:
Esmeralda: I have Walt Reed's book, but I have to confess I haven't given it the attention it deserves yet. So far I've been roughly working (still in a very unsatisfactory and problematic way, I know!) with Vilppu's simplified manikin figure. I will take a better look at Reed's, now that you mention it. Thanks for visiting!
jt4470 I've had Vilppu's simplified figure in mind in some of my studies, and I've indeed been going back to his drawing manual quite consistently, so I think you're right in noticing some influence there. I've also been trying to show form by drawing across the form, as he (and Hale) suggests... it's a great way to show (and understand) volumes. Apart from Vilppu, I've also been checking some Bridgman and, to a least extent, Bammes. As for creating dynamic gestures, jt4470, I am afraid I'm not the best person to give you suggestions, since I've been struggling hard with that myself... I believe starting loose and pushing the pose might be a step in achieving that (as opposed to starting with analysis and constructive anatomy...which, as Esmeralda pointed above, should be a later stage only), but that's precisely what many of my drawings lack. Vilppu is a great source for that, I think. You might also want to take a look at Karl Gnass's The Spirit of the Pose and Walt Stanchfield's Drawn to Life, which, among many other things (all related to animation) emphasizes the importance of pushing the gesture. But again, to repeat, these are all aspects I have yet to achieve in my drawings, and I feel bad for giving recommendations on something I haven't quite figured out yet, so please take my suggestions for what they're worth.
Here are some more quick, loose studies after Pontormo. Critiques and suggestions are much welcome!
After Pontormo and Rubens.
So it has started! I am finally in LA and have started my very first formal drawing classes. After the first classes, I can see that there are going to be quite a few challenges on the way (starting from learning to properly hold and sharpen the pencil!) as well as rewards... I am looking forward to both!
Here are some drawings done both in class and at home on my own, trying to absorb and understand what I have seen so far. They focus mostly on gesture and construction. Some are from life, some from imagination, one or two from reference.
Critiques and comments are much welcome!
From reference & imagination:
A ~30 minutes attempt at a tonal study (took a better picture of it). I am trying to understand how to control value and edges (including playing --very clumsily, I know-- with lost edges). I am having a particular hard time noticing and expressing halftones, as well as understanding how the transition that leads to it from the core shadow takes place.
As always, suggestions and critiques are more than welcome.
Last edited by bkkm; January 18th, 2010 at 04:55 PM.
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