Part 4, Project 3, Exercise 2: Essential elements

Draw a sequence of six different poses lasting ten minutes each. Adjust the light so that it hits just one side of the model, to emphasise the three- dimensional form. Take time to look at the model and identify the darkest and lightest areas. Remember the basic shapes and begin to shade in the darkest tones.  Build up the different tonal values with loose hatching and/or broad sweeps of dark tone. Leave the white paper without marks for the lightest tones.  Draw the whole of the figure, and don’t concern yourself with detail.

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I am pleased with this drawing.  I used oil pastels on toned kraft paper so I could concentrate on shading.  (I prefer to use toned paper and to mark in the lightest and darkest areas, rather than use white paper and mark in mid- and darkest tones.)  I think this drawing was quite well observed, the proportions are good. I like the way it fills the paper and how some parts of the figure go off the page.   Even though the lighting was not bright enough to create contrasting  tonal values, the end result is fairly convincing.  The only bit I am not happy with is the chest area- which is oddly shaped and looks a little like the male model has breasts!  The model is sitting at an angle away from me.

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This is another attempt at the same pose as above, but using various tones of skin-toned marker pen.  The proportion of the rear leg is not right- it is too short compared with the other leg and the rest of the body.  The pens were hard to control- the darkest areas are fairly accurately observed andI generally think the tonal effect creates a sense of weight and three-dimensional form.  I like that the pens discourage me from outlining too starkly.

 

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This was an experiment with marker pens, using various colours instead of skin-tones to depict the different tonal values.  There is a twist to this pose because the model’s legs go to her right while she is looking towards her left and her weight is going through her right hip/buttock.  There is definitely a sense of weight and 3D form in this picture, particularly due to the use of the pale yellow highlights and the area where white paper shows through on her lower leg.  I did use a fine pen to outline the shape to prevent it becoming a muddled mass of colour blocks.  I would like to try this again taking more care to isolate and separate the different tonal values.

 

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The two drawings above use skin tone marker pens, depicting the areas of shade/light across the body.  The standing pose works best- there is a more definitely sense of directional lighting coming from the model’s right (our left).  The shading helps to confirm this.  As a result the effect of form is also more convincing and even though I have outlined the figure I have used a mid tone pen so it is not too dominant.    In the seated pose the highlights are a little confused- hitting the torso from the front and the back.  This may actually have been true as the room has windows all around but the sketch does not work so well..  In both sketches the proportions are generally accurate, although the arms of the seated pose may be a little skinny.

 

 

 

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