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!
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.
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.
Second week of classes, together with a few quick studies... Even though it doesn't show in the drawings, I've already learned a lot in such a brief time!
I am exposing myself to two different approaches to drawing which sometimes contradict each other. One, more sculptural and constructivist; the other, more painterly and tonal. I am hoping to find a balance between them, but for now I am trying to absorb as much of each as possible...
The tonal-ish drawing was about 1 hour long. Working hard to organize and simplify my values...
Esmeralda: Thanks for the tips! I've looked both of them up, and their work is really worthy of being studied! Ah, even though Glen was not there in the last couple of classes, I feel I am beginning to get it (hopefully it will show sometime soon!)
So, this was a great week for me at both classes I am taking. For the first time, I feel as if I am really beginning to understand, rather than being lucky every now and then when a drawing turns out okay. What made me feel great was that I seem to be also beginning to understand how to integrate both approaches I am being exposed to... and, to my surprise, the key word that brings them together is: rhythm. In Vilppu's class last Tuesday, for the first time it dawned on on me what he means when says that he doesn't draw contours, he creates contour. I began to *feel* the forms, and dropping the contour is just a matter of emphasis as your pencil moves across and around the form. I think I began to understand the rhythm of FORMS,i.e. 3D rhythms, on which a convincing sense of VOLUME depends.. My other class (Orbik's) focuses mostly on design and value organization, and again rhythm plays a central role; but it's a different kind of rhythm. There we deal not so much with forms, but with SHAPES -- their 2D equivalent -- and I think I am beginning to get a grasp for a sort of 2D rhythm, on which DESIGN depends. So, on the one hand, forms and volumes; and on the other, shapes and design, all brought together by the overlying idea of rhythm. Now that I seem to have understood it for the first time, let's hope it begins to show in my work sometime soon...
It was while working on these 5 minutes pose that I began to understand 3D rhythm. The same old sentences that I had heard over and over again -- "feel the form"; "don't draw contour, create contour" -- began to make sense: Attachment 896111
Really inspiring thread. Your improvement is commendable. While I was reading through the first few posts, I was thinking of suggesting you to try to draw with more sure and confident lines. But then I see now u have totally got that confidence in your line. Really amazed how within a few months, you have improved much. Just keep at it, u are totally on the right track, and moving fast...
"Choose only one master.. Nature. " Rembrandt
"The only time I feel alive is when I'm painting." Van Gogh
nice studies, man...u can never go wrong copying the masters. Go to andrew loomis and learn more about the essentials. Be big on perspective,and practice lots of cubes.Remember that always to study the parts and then the whole and viceversa...so one day do a study of noses,or eyes only,understand the structure and geometry behind it. u r on the right track...as a side study draw from still life,is good to sharpen your eyes and understand composition...like the bridgman studies,and the hogarth ones...nice study of the esqueleton...keep it up.
Draw from the cast, take a trip to your museum and draw from sculpture, this way your eyes get used to seing tones better,that will help when you go back to life class,because you imagine the figure as being a big geometric form,really heavy...
try to copy a michelangelo once,from his frescos,those figures have so much form in them and perfection is crazy.
Mydrako: Thanks for the words! In reality, line quality is something I am really -- and consciously-- struggling with, so hearing that from you makes me feel there is still some hope for me!
the_allejo05: Thanks for the tips! Of the names you mentioned, the only one I haven't drawn from was Hogarth -- his drawings can't seem to speak to me, despite their (perhaps excessive?) clarity. I will keep working hard. Thanks!
This drawing session was not nearly as productive as last week's. I need to learn when to emphasize or de-emphasize my lines; to use them with economy and purpose. Besides that, have a particularly hard time when it comes to rendering, especially in a linear way (hatching). Below are the ones that escaped total disaster. Any critiques or suggestions on how to improve, or what to work on, are very welcome.