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  1. #1
    Join Date
    May 2008
    Sao Paulo, Br
    Thanked 235 Times in 165 Posts
    I will keep my questions simple,

    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.

    Thanks in advance!

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  3. #2
    Join Date
    May 2003
    Hudson River valley, NY
    Thanked 16,683 Times in 5,021 Posts

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  5. #3
    Join Date
    Dec 2009
    Thanked 3 Times in 3 Posts
    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

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  7. #4
    Join Date
    Apr 2009
    Northern California
    Thanked 4,921 Times in 2,548 Posts
    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?

    Plein Air
    Still Life
    Sight Measuring

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