Project 4 Exercise 2 - Three figure drawings


I started by making a number of rapid sketches of members of my family whilst they were positioned naturally around the room. My priority here was to establish a position that looked both natural and interesting. 

2 minute sketches. Mixed media - Pencil, watercolour, ink, crayon and white chalk: 







Experimenting with the different media, I do like how the 'Payne's Grey watercolour helps create tone in a rapid drawing, areas of dark and light that capture the face especially. I also felt free and excited with the charcoal stick so decide to continue to the next part of this exercise with this media. 

 30 minute drawings - 

Standing: 


Assessment of drawing

How accurately did you depict the overall proportions of the figure? Did imagining the sitter's skeleton and muscles help to convey the figures structure and form? 

I used the centre line of the figure to help guide me through the areas of the body, you will see a line plotted in with the charcoal stick. This centre line did help me visualise the skeleton and 3D structure of the body.  I am comfortable with the neck, moving into the chest, moving onto the arms and then to the the waistline. Visually, I see this is a good start and I am particularly happy with the positioning of the breasts on the chest. 

Where I have fallen far short on this drawing is the size of the head and the size of the features positioned within it. All are far too big, especially the nose. The position of the ear however, is a success. 

The watercolour in 'Payne's Grey' was a successful way in highlighting where the light touched the skin. I will carry this use of media forward with me. 


Seated: 


Assessment of drawing

How accurately did you depict the overall proportions of the figure? Did imagining the sitter's skeleton and muscles help to convey the figures structure and form? 

I used the centre line of the body, marked in with a charcoal stick to help navigate my way around the structure of my figure. What was pleasing to visualise and mark in was the naturally curved direction of it in this position, it guided me down to the belly button. 

The size of the head is a more realistic proportion size, I am happy with this. I am happy with this proportions of the next, moving into the chest, moving down to the stomach. 

The positioning of the towel sits correctly as do the size and positioning angles of the legs. however I did run out of space on the paper to include the feet, a mistake. 

The left (to the viewer) arm seems to sit well and correctly measures to the resting position on the left (to viewer) knee. The right (to viewer) arm was a challenge due to foreshortening and isn't correct in my drawing. I tried to correct the positioning of the hand, however, overall the foreshortening here hasn't worked and looks inaccurate. 

The Payne's Grey watercolour again has been successful in capturing the light on the figure. 


Lounging:



Assessment of drawing

How accurately did you depict the overall proportions of the figure? Did imagining the sitter's skeleton and muscles help to convey the figures structure and form? 

This time my figure is clothed and sleeping in a chair. I did find the addition of clothing very challenging. Relying on the centre line of of the body in my previous drawings. I found it hard to imagine the skeleton is such a large hooded top. I did however follow the zip of the top to help guide my eye through the proportions of the body. 

I am relatively happy with the proportion size and positioning of the head, however again, the features I have positioned here are far too big. I realise that perhaps as I approach the assignment, a charcoal stick is a good idea, however I need a slimmer and more delicate charcoal pencil perhaps to add in the facial features with delicacy rather than the clumsy nature I have so far managed. 

The right (to viewer) arm, with foreshortening seems to be well placed with the hand resting on the figures head. The left (to viewer) arm is incorrect. It is too large with no definition and takes over too much of the chest area. 

Again the use of watercolour on the face helps identify areas of light. 

Comments

Post a Comment

Popular posts from this blog

Image
Research Point - The still life genre  To approach such a huge area of research, I have decided to study a painting from each century and note down my observations on medium, style, application and the mood of each piece.  Pieter Aertsen 'A meat stall' 1551. Oil on canvas:  This painting offers a scene of abundance. A stall full of meat, of food. Outside of the doorway I can see many people going about their business, picking up supplies. In the immediate scene I can see fish and sausages, birds and ham and of course the most striking element, the head in the centre.  The oils are used here with such precision and skill. The colour is exact, so truthful. The scene has been depicted exactly as it would be caught on a camera in this modern age. There is no room here for an untruth. It is a photograph of the stall. A stark reality.  The shadows have been painted in so accurately on the white cloth just right of the head. In shade a pale grey. ...
Read more
Image
Research point:  Landscape artists from different eras Claude Lorrain 1604/05-1682 Claude Lorrain, born Gellee in 1604/05 is one of the earliest know landscape artists.  Rome was his interest and inspiration and where he spent a large amount of his life. Lorrain would sketch the Roman countryside with fellow artist Nicolas Poussin. These sketches would the be developed into oil paintings.  Lorrain was influenced by Northern painters, Elsheimer and Domenichino .  Lorrain's earliest dated canvas is 1629 with 'The storm' from 1630. 'The storm is a drawing/painting of an unknown location. Pen and brown wash are used on blue paper to depict a seascape. Figures on the beach are pulling hard to bring the ship to shore in the foreground. A ship floats wildly amongst the waves of the sea in the middle ground and in the background, I see the cliffs. Is it a real scene or is it fictional? There is such energy in this piece, I can see the great effort ...
Read more
Image
RESEARCH POINT  Odilon Redon Here, I also found the pencil sketches of the trees to help with my study.  'Two Trees'  The dark bellows through the trees from behind, like there being an expanse of dark behind them. You can see the dark to the side of the trees too. The tone is bold and the darkest marks.  The light hits the trees further up. I think the light comes from the right hand side. There are dark marks that show the round shape of the trunks. The straight lines of the trunks appear delicate and look as if they move downwards, perhaps downward strokes of the brush and pencil.   The light especially hits the branch on the right side, this branch to my eye is the lightest part of the piece.  Redon also includes bobble like marks on the tree trunks to depict texture. Things marks appear round in shape and move upwards around the tree, again enhancing the appearance of their shape.  'Portrait of Madam Redon Embroid...
Read more