Model Drawing 2, Spring, Week 3

As usual we start with Gestures, in this case SIX 3-MINUTE gestures.

Following the gesture drawings, I demo-ed the upper torso, specifically the connection between the torso and arms.  Here an indication of the pectoral muscles conveys the connection, without having to over-draw the anatomy.

The arms themselves should be kept simple, with indications of the shoulders, biceps, triceps (if the angle you have shows any triceps), and the tapering nature of the lower arm.  I also demonstrated a twisting pose, where the center front line will help you figure out which directions the ribcage and pelvis face.

 We then completed THREE 7-MINUTE upper torso/arm studies.  Student work follows:

Afterwards, we completed a study in angles, silhouette, and negative space.  You begin by marking the proportions of the proportion sheet onto your page, and building a box around them.  Within the box you mark all of your important angles, such as the shoulder angle, hip angle, knee, and ankle (if necessary), and without an under-drawing, begin constructing the silhouette, drawing as much detail as possible (silhouette detail, so think the outside contour).  When completed, fill in the negative space between the figure and the box with any color pastel.  The idea here is to have 3 silhouettes that are easy to read; should you stand a few feet away from your drawing, you should be able to clearly decipher what you are looking at.

THREE 7-MINUTE POSES DONE FOR THIS EXERCISE.
Student work:

After lunch I demonstrated lighting/shading.  The idea is to break down the figure into 2 values, light and dark.  Instead of hastily scribbling shading into your figure, draw the shadow shapes first, then lay in the shadow tone.  This produces a clean and logical lighting system for your drawing.  We focused on shading only the figure, not the garment this week.  My demo is below:

 We completed ONE 15-minute figure, shading only the figure, keeping the garment solid.
Afterwards,  I demonstrated a profile view (by request), and a walking pose, this time with a geometric bathing suit.

Note that the figure is shaded with 2 values, whilst the bathing suit is kept simple, and blocked in.

On the same page as the first 15-minute shaded figure, we composed TWO MORE 20-MINUTE WALKING FIGURES.
Student work:

We ended the session with an approximately 12-minute back view walking figure, which can go on another sheet of paper if necessary.
Student work:

This concludes week 3.