From Leah:
Figure Drawing class. Practicing drawing some off poses. I'll be working on my final soon!
Portrait class. Mapping out the face of my final project. Very scary looking, but makes sense in the long run. Usually I just use my eye or a ruler, but it's good to learn how to do things differently!
A 1-hour drawing that we'll be graded for. I did well, but needed more contrast of course. But I wanted to get as much done as I could in an hour. Timed drawings aren't so fun, but good for learning!
Another drawing project from class last week. Crooked, but again, had to draw in a small amount of time!
From Sarah:
The 1-hour drawing homework from last week. The first page, on the left, was just my practice drawing so I could see kind of how the shapes and things went before I used the Bristol paper for the real assignment. The practice drawing took me about ten minutes longer than I was supposed to have for the time limit, but I didn't set my alarm for that one.
Bottles, drawn with different time limits in class. The idea is to practice drawing faster, and not to take forever on one little detail, although in theory you can go back and add details later or something.
(Apologies for the gruesome lighting job in my photos...)
Good work, Ladies.
ReplyDeleteI would agree with the recommendation of looking for ways to show value differences, i.e. emphasize contrasts. That gives soul to your works. You do have fine forms though, and I can see your thought development as you go for longer times for each sketch. "Mapping" is very good for noting areas of value change.
Sarah, Your initial gestural drawing is quite beautiful and fresh. Endeavour to keep that in finished works.
Also, are you taught to map a skeleton in your figure drawings before "adding flesh"? If not, you might want to do that on your own. Check where bones should go: like knees and ankle bones and hidden elbows. Order of operations: bones, muscles, clothes/skin/hair, light.
One more thing: clear glass has the other side visible. Even a small suggestion of a curve helps. It is easier in color but possible in drawing, too.
You are doing fine work, so do not take suggestions amiss, please.
I am guessing the quick drawings are not so much to work toward speed, or even to prevent overworking details, as to compel you to SEE and make decisions about what you see. All of art is selection. You choose what you wish to convey by what you portray. A variety of emphases, whether intentional or not, carries the viewer's eye to certain areas in a certain order, and you want to be the one directing that path of travel. Your values, color choices, line dynamics, perspective, and everything else are choices you make - and can adjust to suit your message! - to say what you want to say. Copying accurately is not the aim; your voice is the goal. Of course by learning to copy at first, you learn what others have to say, in exercises; but then you need to say something yourself, even if it is just a little at first. It might be that you like strong light to convey drama/emotion/pathos/tension, or you want a soft look to show introspection, or dancing lines to show a jolly mood, or whatever you like. Just say something; have a reason for the piece, even for practice pieces and school works. This ultimately will help you develop a "voice" - a purpose for doing what you do.
Haha, thank you.
DeleteIf in talking about the skeleton thing you mean kind of the circles-and-sticks then cylinders/whatnot deal, yes we do a bit of that; and I find that it does help me in getting perspectives and proportions not too ridiculously out of whack in my own drawings.
I did not notice the curve thing with the glass -- thanks for pointing that out, and I'll try to keep it in mind. Although also remember we were on a timer and couldn't see everything done, I guess. :)
Your words about the quick drawing are interesting, and possibly closer to what the class is trying to teach than what I could gather from what they said there. XD When I am drawing I find it hard to remember that I am an individual -- I tend to strive (subconsciously, maybe) toward replication and perfection, as if my hand is printing off a photograph.
Beautiful art works, girls!
ReplyDeleteWonderful commentary, Sarah. We need more of that theory here I think. In retrospect, I managed some of that (from your last paragraph) in my lamp painting I showed you because I wanted a light in darkness to represent God's Word in the verse Katie is adding (will have a blog post on this, right Katie?).
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DeleteThanks!
Delete(btw, your lamp painting is awesome)
Thanks, Pam. We are looking forward to seeing your finished work. Thanks, Katie.
ReplyDeleteI really like the first one out Sarah's
ReplyDeleteThank you! :)
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