
Thursday, October 3, 2013
Wednesday, October 2, 2013
Anatomy
This is a bad drawing.
The musculature and structure of the back is completely muddled in this rendering.
This is a little better... but we're still just guessing here.
Let's take a look at a master copy I did from a Da Vinci study
with some muscular and skeletal overlays.

Sometimes it's better to just learn from the masters and practice fundamental anatomy. Just because a layer of skin is covering up all of those muscles and bone doesn't mean we can ignore the architecture underneath the figure.
Tuesday, October 1, 2013
Line
The best lines in figure drawing I think are calligraphic. Varying thickness, directional, and confident.
Even the quality of the lines you use to draw "through" the body to establish form is important
This was a good experience of not just resorting to faded chalky soft lines. I reviewed with my professor about the portrait and he added a few of the distinct, dark lines. I added the rest and it really made the whole composition more defined and more confident.
Even the quality of the lines you use to draw "through" the body to establish form is important
This was a good experience of not just resorting to faded chalky soft lines. I reviewed with my professor about the portrait and he added a few of the distinct, dark lines. I added the rest and it really made the whole composition more defined and more confident.
Monday, September 30, 2013
Poses
Going into these kind of classes, I was expecting nice stationary, simple poses for our sustained drawings. But I soon found that being able to draw the body in all sorts of poses and tackling that beast of a burden we all know as foreshortening is an essential skill set.
In short, I hate foreshortening. But I can handle it.
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