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January 31st, 2006 #1
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January 31st, 2006 #2
they dont show up
February 2nd, 2006 #3
February 2nd, 2006 #4
I have a question regarding your technique...
I know of other techniques that I have been studying that claim to begin with the ribcage mass, or others who claim to start with the pelvic mass.
The reasons given were that the head is one of the least structurally important parts of the figure (as Hogarth illustrates) and that the model's head very often moves from the beginning of the pose.
Do you have a particular reason for beginning with the head?
Hope this comes off sounding the way I mean it, genuinely curious and wanting to learn.
February 2nd, 2006 #5
Thanks E, keep em comin! (Im a greedy dude)
[url=http://galleryonefone.blogspot.com[/url] This would be my gallery in Sweden
This would be my Pleine Air blog
February 2nd, 2006 #6
glikster-No, there is no reason for starting with the head other than it is fairly consistent, as it is not affected by a persons build(if you workout your head doesn't get bigger, physically). I personally don't like starting with any of the masses. I look for the relationship between those masses (the gesture). My starting point however is marking the top, bottom and middle of my pose. Then I find what sits on the middle point, the crotch for instance. The main focus for me in the first sitting of a pose is getting the gesture and rough placement of landmarks (pit of the neck, tips of shoulders, crotch, etc.) once this is solid then I start to develope my masses based on this gesture. The reason for this is, proportional masses are easy to adjust just trim a little here add alittle there, but if the gesture is not correct that is when you end up having to remove whole areas of your drawing. I hope that helps.
Tim-Next up masses and structure.
Last edited by E.M.GIST; June 27th, 2006 at 10:19 PM.
February 2nd, 2006 #7Originally Posted by E.M.GIST
February 3rd, 2006 #8
February 7th, 2006 #9
Thank you so much for this tutorial and making it in such a easy to understand manner. I love your explanation about the two opposites: when something is tense , the opposite side of the object will be relaxed. The examples of he bean bag and snow man are great and very comprehensible.
So thank you very much, hope to learn more from you.
February 7th, 2006 #10
February 8th, 2006 #11
yessss, keep posting these so I can print them all out and never have to attend class again! muahhaha
February 8th, 2006 #12
February 8th, 2006 #13
very nice of you to share these, thank you so much!
I just noticed that I'm reading this very differently now that I started art school and actually am drawing from the model every day. our approach at angel is similar, I'll quickly point out the differences for you erik and those interested:
-we also start with marking top-bottom-middle
-we draw a plumbline with these marks (top-bottom-middle) and choose a reasonable position of the plumbline on the model, actually using a plumb weight on a string (as opposed to using the pencil, both methods work well I guess. it seems we can decide pretty well if something is horizontal or vertical)
-once the plumbline is set, we then draw a little thumbnail sketch of our idea of the gesture to decide about questions like "am I going to use a c-curve on the leg, or will a s-curve be more powerful/accurate?" about 5 cm in height, not worrying about proportion too much but doing it as accurate as possible in a reasonable amount of time (5-10 minutes)
-the thumbnail sketch done, we start on the actual drawing. not with the head as you do, but with establishing the height of shoulders and hips.
-next is finding the width of shoulders, hips and head, and blocking in the feet
-then we proceed as you do, using as few and as long lines as possible, to keep it as simple and as powerful as possible while still being accurate
the next step would be "articulation" instead of "structure", which means defining the shapes a bit more, but still staying more "2D". there is no stage where we consciously switch to "3D-Thinking" as far as I know. We just learn to copy what we see, the shapes, the tones. But I will definitely try to draw contour lines once we pass the gestures-only stage!
hope that's of interest to anybody..!
btw. we also never draw from imagination, just pure copying. I'm doing it on my own as much as possible, though.
a question: I'm having trouble with getting small sizes right. like the height and width of the head.. I couldn't possibly start with the head, it would be too wrong. we measure stuff with a knitting needle, but I find it rather inacurate. half a centimeter difference makes a head look a LOT bigger/smaller.
do you have any tips on getting stuff like this right?
thanks again for putting together the tut!
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