Septem VII

This week in life drawing, was admittedly slow.  I missed class on Thursday and therefore didn't have the extended class time drawing session.  I did arrange time for my wife to model for me, where I could draw for two, 2 hour sessions.  I found that this experience was very beneficial in developing my ability to communicate line and form a bit more effectively.  I have similarly began drawing some portraiture and producing drawings of my manikin in the various stages of the modeling process.  Prior to drawing from my model I spent the usual first 45 minutes or so doing preliminary warm up drawings, focusing on the hips, and quadriceps.  I regretfully didn't have my model positioned in a manner that effectively the front of the leg as I should have.  In future drawings, I will certainly pay closer attention to this.  Finally, I spent a bit of time studying my skeletal model, Yes I have a life size skeletal model.  I really want to understand the whole structure of the figure.  I specifically studied the skull and the hands.  All in all I made this as productive of a drawing experience as possible.

Sex (Latin Six)

This past week we focused a great deal of attention on the figure again.  However this week differs from past weeks, as we looked in greater detail at the way the pelvis interacts with the rest of the form.  We were asked to draw gestural drawings regarding the shape and form of the pelvis, as well as how it interacts proportionately with the rest of the body.  We repeated many of the same steps as past weeks, wherein we began by producing short gestural drawings, and increasing the times until we were at about a half hour or an hour for the longest drawings.  I think that the most beneficial components to this past weeks class was the attention paid to proportions, and the small group critiques that we had with professor Fichter.  This provided a great deal of professional feedback from which to develop our skill.  I feel that this was important because it teaches us how to see from a multitude of perspectives.  In summation this critique was   helpful in that it defined the expectations of our drawings clearly, as well as what is expected as far as line and form.

Diapente (Fifth)

This week was quite a bit more uneventful than the past several, as we had a short class on Tuesday, where we were looking at the musculature surrounding the Gluteus-Maximus.   Our class was given the opportunity to apply our knowledge of this muscle group to our manikins.  In addition we were to have drawn our shell drawings which are due this upcoming Thursday.  I began this drawing with a great deal of enthusiasm and was looking forward to this assignment.  Unfortunately I missed the information that was given, telling us that we were to have drawn our shells, on neutral paper, therefore I proceeded to draw my first drawing on black Stonehenge.  I generally work from dark to light, so this seemed only natural to me.  I personally feel more connected to my work when I begin in a dark color and apply pigment to the surface.  I feel that this in some way vindicates, and releases the surface.  I enjoy watching as shades and tones emerge from the surface, as if it is becoming alive with movement.  I truly tried to create a surface on my shell that would appear all at once static and fluid.  Upon completing this drawing, I learned that we were to have drawn on neutral paper.  For this reason I will submit both a black background and a light background.  I lost a great deal of my initial enthusiasm for the form when I went to transfer the image to a light background.  It is clear that my enthusiasm is lacking in the latter piece.  I will use this as a learning experience and will work to maintain a level of consistency in my drawing, whether enthusiasm is peaked or lacking.  In general this process is a great reminder of why one studies the arts

 

IV (Quattuor)

The past week was interesting, in that we were encouraged to continue to work on our shell drawings, as well as our manikins, and to work on drawing lightly along the lateral lines of the form.  We spent a few minutes working on establishing the spinal curve and the rib cage.  Finding the movement of the spine was so crucial in determining how to create the ribcage.  Once the ribcage is established it becomes clear how the body should appear in the drawing.  The simplicity of the spinal line, truly allows an artist to see the way that the figure is actually moving, or proportioned.  As we continued to draw, we were allowed a greater period of time.  This time was helpful in building on the prior knowledge of the form and the various landmarks along the spine, ribcage, and pelvis.  In addition to the drawing practice, we were encouraged to continue to study our atlas books and pursue further research.  This week there was little attention needed on my manikin therefore, I spent the time drawing various textures, and lines.  In summation, the week was mostly practice, but was very useful and enlightening non-the-less.