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September 26th, 2009 #1
Study thread: drawings and paintings
Newer images on the last posts/pages. Thanks for Checking! **UPDATED: OCT 15 2012**
Last edited by bkkm; October 15th, 2012 at 04:05 AM.
September 26th, 2009 #2
Some more recent anatomy and gesture studies. Tomorrow I will post some recent studies from life.
Last edited by bkkm; January 17th, 2010 at 11:21 PM.
September 26th, 2009 #3
Recent studies from life. I've been working with ink in an effort to improve my lines, but sometimes (as in the second drawing) this works against me... In these drawings I've been trying to focus mostly on construction and analyzing structure. Any critiques regarding construction, gesture, anatomy, or anything else you think needs improvement (and that means pretty much everything!) are much welcome. The second is a 5 min. pose, the last one 10 min, and the rest 20 min poses.
September 28th, 2009 #4
Anatomy study, color coded. Trying to think of the skeleton, and to draw each muscle from their origin to their insertion points, overlapping one over the other. Learned quite a bit doing this -- and would have learned twice as much if I had actually drawn both sides, instead of flipping the image... It was too late when I realized I'd run short of room on the sketchbook's page.. Won't happen again.
Last edited by bkkm; September 28th, 2009 at 03:58 AM.
September 30th, 2009 #5
October 1st, 2009 #6
Some gestures and a quick study from Leonardo. I think I am finally beginning to understand the idea behind the gesture, and the importance of starting lightly (even though that doesn't show yet in my drawings...). Hope to post more elaborate studies soon.
October 6th, 2009 #7
Inspiring thread. Keep doing those life drawings and master studies and you'll keep improving. Great books along the way are Hamm's "Drawing head and figure", Loomis "Figure Drawing FAIW" and Bridgman. Best of luck with your drawing.
October 7th, 2009 #8
Mindbendermind: Thanks for visiting! I will keep drawing. And you're right: Loomis and Bridgman are great. Bridgman in particular: each time I go back to him, I see something I hadn't seen before; a glimpse of a very rich order beneath what appeared to be simply chaotic exuberance and expressiveness.
Here is an attempt at understanding the structure and analysing the forms of a skeleton, playing with it in space.Will try to attach some muscles to it later.
Last edited by bkkm; October 17th, 2009 at 02:27 AM.
October 9th, 2009 #9
Spent the last few days studying muscles origins and insertions...and finally decided to attach them on the skeleton above. It was then that I realized all the problems with proportion, the impossible bends of arm,legs, and foot... I've tried to fix a few things here and there, learned a lot during the process, even though much of it was beyond any hope. I also was completely unable to make that left arm rotate in that position.... :/ Please critique and make suggestions.
October 10th, 2009 #10
From life, five and ten minutes. Not happy at all with them... I've tried to vary the approach this time (mostly because of time), but the figures seem even flatter than in my previous attempts... Any suggestions on how to improve? I'd really appreciate critiques and suggestions.
The other two are a very quick (2-3 minutes) sketch done at the life drawing workshop and a quick anatomy study from memory.
October 10th, 2009 #11
October 16th, 2009 #12
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
The Following User Says Thank You to KingElvis For This Useful Post:
October 17th, 2009 #13
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