Burst session practice – 30 second poses
Continuous moving model sketches. However, this time, we concentrated on how the feet bend and the shape pivots greatly to grant constant steady balance. I do enjoy posing feet in action posing, however, I’d never properly observed what they do when shifting weight. I found breaking down the foot into 3/4 shapes made things quicker and more expressive to record.
Instead of the model walking around in a circle, she walked in a line – this was actually wonderful as we weren’t battling with the constant shifting perspective.
The second part to the session was working around perspective. Boxes replaced the model and recreate foreshortening in free hand. This study is satisfying but particularly irritating because the mistakes I made at the beginning of the drawing are very clear in comparison to the end of it. I drew from the bottom box to the top and the bottom right edge doesn’t have enough incline and is pulling the perspective inverse to the rest. By the second box I had gotten my bearing and marking out roughly made things far simpler to plot in proportion to what I was seeing.
This exercise was then applied to the figure and using geometric shapes – construct the same principles into a figure. When breaking it down into these basic primitives things get less complicated and I wasn’t getting bogged down in the detail of a ‘figure’ but rather a shape.
Finally, using an amalgamation of these principles we studied high and low of the model form. This meant some impressive balancing acts juggling books and pens while not greeting the floor face first. The elevated perspective is much easier to push in exaggerating the pose compared to the low position (looking up) where the figure almost ends up as a side on perspective. I think this is due to me anticipating the torso or trying to apply the usual shapes rather than looking without assumption.
The final design is the by-product of truly looking. Without looking at the page or taking the pencil off – seeing the shapes and mapping out the textures automatically with the hand without guidance from the eye. This was a challenge for me because I wasn’t really sure what we would expect at the end. Though its possible to see a figure within the lines it isn’t totally expressive of movement, although it is most defiantly active (plus I wasn’t 100% what in the world we were asked to do).