Tuesday, January 5, 2010
Sunday, January 3, 2010
Hey everyone, Here's everything that we have talked about in class regarding measuring your subjects (Building, Model). Now that most of you have already practiced these techniques in one way or the other, this should make more sense.
1. Establish two points on your paper as the desired height of pose (top and bottom). Draw a perpendicular through these points as the middle line of the subject.
2. Locate the middle point of line (1/2). Now, holding pencil at arm's length, find the middle point on the subject before you. From the middle point get quarter points (up and down).
3. Take the greatest width of the pose. Compare it to the height. In this drawing, it comes just above the right kneecap (about 1/3). Lay the width equally on each side of your middle point crossways on your model.
4. Your two lines will cross at this point. It is the middle point of your subject. Remember this point on the model. You work out from it in all directions.
5. Now, with plumb line, or eye, locate all the important points that fall beneath one another. (In this drawing the subject's right heel is directly underneath her hair at the forehead, the knee under the nipple, etc.)
6. Start by blocking in head and torso and, from the head, sight straight up and down and straight across, all the way up and down the figure.
7. For the angles, sight straight on through and establish a point on the line where it falls under a known point. (See line of chest and nipples. The known point is the nose. This locates right nipple)
8. If you constantly check points opposite, points underneath and where the angles emerge, after having established height, width, and division points - you can't possibly go wrong with the accuracy.
(Measure by holding pencil ALWAYS at an arm's length)
Click on the image to enlarge
All lighting information can be split up into 3 broad parts:
1. Highlights (the whites)
2. Halftones (the grays)
3. Shadows (the blacks)
There are two other portions that you need to keep in mind:
5. Casting Shadow (the masses that are responsible for casting Shadows)
So ideally... the way that we have been going about it... we attempt the drawing in roughly two phases. Blocking (Identifying and outlining all the portions from 1-5) AND Final Light.
Also use the side of the pencil for drawing shadows, tones and values, and the sharp point for the contours
Monday, December 21, 2009
Been a while since i updated this with a post... so here goes... This is the sketch that fetched the highest score on the mid terms. Perfect form, excellent technique and very good lighting. Not to forget... commendable control over the medium.
Things to notice:
2. Lighting Consistency
4. Confident Lines
Good going Erum.
Thursday, November 19, 2009
Wednesday, November 18, 2009
Well... you guys are almost half way done with the semester... I hope you are picking up some useful information from all your lectures. Now is a good time to start thinking of the practical applications of everything that you are learning. Of course it goes unsaid that I would like to hear all your thoughts on how to utilize these new skills.
We are making good progress so far... just make sure you guys make these midterms count. Some days the work tends to get overwhelming... and the instructions seem to take you back to square one. Don't let these petty things get in your way to accomplish what you are all destined to achieve. Stay focused.
Enjoy what you're doing... and best of luck with your midterms. :)
Tuesday, November 17, 2009
"Figure drawing in depth is accomplished with ease and authority only when the student becomes aware of the characteristic body forms. He/She must train his/her eye to see three kinds of forms in the human figure: ovoid forms (egg, ball and barrel masses); column forms (cylinder and cone structures); and spatulate forms (box, slab and wedge blocks). These three kinds of forms should be distinguished from one another and studied separately according to their individual differences. Comparisons should be made with respect to relative shape, with, and length and special emphasis should be placed on variations in bulk, thickness, and volume. This is an approach which seeks to define the body as the harmonious arrangement and interrelationship of its separate and individual defined parts." (Dynamic Figure Drawing. Hogarth, Burne. Page 4)