What is the real use of gesture drawing? I understand how to make a gesture drawing and how it depicts the action of the figure, but how do I proceed? How do I use it in the construction of a figure? I am having a real troublesome time relating it with a finished piece.
IN a quick response, even though those forum topics cover the subject really well, Gesture drawing honestly allowed me to quickly draw correct anatomy. For instance I am not one who simply does random drawing after random drawing (though I should more often). I like to research come up with ideas that will make my composition more beleivable, then what gesture really helps with is to put out a number of thumbnail sketches. These should be no longer then like 3 minutes a pop these help me decide what is going to be the strongest composition, and what really looks stupid. then I take what I like and quickly gesture poses and proportions for the final sketch. Gesturing though never perfect really helps me get anatomy allot closer then simply working on a drawing little by little.
See if there is a figure drawing class in your area. It is really hard to get into gesturing on your own, I really hated doing it at first because it looked so bad, but with practice everyday it starts to become second nature to you. I highly recommend gesture drawing, then again, some artists can simply throw characters down avoiding this process all together and can achieve similar results. Its simply what works for you
The short answer is the gesture is the essence of any pose - it is the most diffucult thing to maintain in your drawing - to keep the gesture as you begin defining form and modeling.
Mentler says it all here:
The most important, the most critical and ultimately the most difficult thing is drawing from life is to capture the action or structural rhythms of a pose.
If you are not successful in capturing the action your drawing is doomed.
As far as how to go about it I'll share what works for me:
I start with an oval for the head (establishing the tilt and turn of the head by indicating an oval for the ear, a centerline and an eye-line).
Then a sweeping line from the back of the head through the neck, right into the spine and down the leg bearing the weight if standing - then quick indications of feet - angle being important - if other pose then I just follow the main flow of the form.
Then I try to get the angle of the shoulders and the angle of the hips - indicating their width as well.
At this point I lay in the shapes of the larger masses...trying to stay loose and organic.
That's about all I have time for in 30 seconds - but that is how I start a six hour drawing as well.
What would Caravaggio do?