Form

Exercise Essential shapes

With these two drawings you cannot see the basic shapes too well. I started by drawing the energy flow and main axis of the model and then continued by drawing the curves of the body. I didn’t reduce it to cylinders and boxes but tried to draw what I saw continually modifying to get the right proportions. The second drawing below is again A2 in size which I guess I am beginning to adjust too, although I still much prefer working in a smaller scale. It is also new to me to work on an easel and holding the pencil in a different way. You can see the outlines have been reworked many times. These drawings are more precise than my previous sketches, we were encouraged to work precisely but remain loose at the same time.

Exercise Essential elements

The following drawings were again, part of the life drawing class. This time they were shorter exercises roughly 10-15mins each and using charcoal. This was another challenge altogether. On some of the drawings we were instructed not to use any outlines but to use the charcoal flat and produce shapes and shading. This was difficult at first and created a lot of rejects. This was an interesting way of looking at the model and if you could let yourself go a much freer way of expression. I am sure it needs practice as with all drawing.

     

     

Check and log

Were you able to maintain a focus on proportion at the same time as creating a sense of weight and three-dimensional form?

I think I was always aware of shape and form, maybe too much so but if the form was completely wrong I wouldn’t feel able to continue until I had corrected the form. So, on reflection I probably put too much emphasis on form when I should have concentrated more on shading.

Which drawing gives the best sense of the pose and why?

The two drawings I prefer are the girl with the hairband and the girl above her leaning forward on a table (which you can’t see). They seem to flow and have a certain energy and ease. The girl with the hairband has shading which work quite well, although, upon reflection, I should have also put the props so she doesn’t appear to float on nothing.

Was there any movement or gesture away from the model’s central axis? If so did you manage to identify this and put it into your drawing? I am not sure I understand the question.