Sunday 28 April 2013

Foundation, Foundation, Foundation.

Michael Whynot. Figure Study, 2013. Red chalk with white highlights.


Michael Whynot. Thirty second?? gesture drawing, 2013.


I had someone comment this morning, during our life drawing session, that they liked my use of anatomy. And there is nothing more wonderful than to have our work appreciated.

But, while I do study anatomy, and its accurate portrayal greatly enhances our drawings, I worry that, often, anatomy is the only aspect of a good drawing that gets noticed. Unless the draftsman works from a strong gestural foundation, all the accurate anatomy, tone, etc. which they use later on, will be for nothing. Just as a carpenter would never attempt to shingle a roof before pouring the foundation for a house, so the draftsman must have their gesture solid before they worry about anatomy.

Shown, above, is a thirty second gesture from this morning's session and, above that, a thirty minute study completed, this afternoon, from that initial gesture. Notice that there is very little in the way of anatomy in the gesture; just the thrust of the forms, the tilt of the head, the twist of the torso. But it was all the information which was absolutely necessary to complete the final drawing. The pose is what was important; the natural rhythm that flows through a gesture is what makes our drawings come alive. Gesture animates anatomy not the other way around. If you build a drawing with anatomy as your foundation, you will find your drawings stiff and two dimensional; a lifeless endeavour. Concentrate on the gesture first; give it as much study as anatomy, or more. Life is what the viewer really sees in a good drawing, even if they don't realize it.

Saturday 20 April 2013

Female Torso Study: Deja vu.

Michael Whynot. Female Torso Study, 2013. Red chalk.


The figure study above was done this morning from a photograph in half an hour. I don't often work from photos due to their lack of depth and dimensionality, but this pose intrigued me. I was struck by the wonderful "C" curve flowing through the head and torso, surprisingly similar to the male torso in motion I drew from imagination in my previous post. Even the positioning of the arms was reminiscent of the male pose, although I had envisioned the light source coming from the left, instead of the right.

When you begin to understand the human form, imagination can replace photos, although it should never replace drawing from nature. As I said before, the artist must balance nature and imagination if they are to become well rounded.

Monday 15 April 2013

Male Torso Study In Motion.

Michael Whynot. Male torso study in motion, 2013. Red chalk.


Drawing the human form in motion can be challenging. The figure above was drawn in fifteen minutes from imagination. A convincing rendering needs to take many things into consideration: gesture, point of view, light source, anatomy. These can all be set up in the studio with a model and props to help them maintain the pose, but it is expensive, both in terms of time and money. For initial studies, drawing from imagination can be the best option. Anatomy, light and shadow can be refined with the aid of a model after you actually have something.

I believe that creativity can wither with disuse. Too much copying of nature can be as detrimental as not enough. The artist must balance the two. Use your imagination daily; allow creativity to grow.


Sunday 7 April 2013

Drawn to Grace.

Michael Whynot. Figure Study, 2013. Red chalk.


Michael Whynot. Figure Study, 2013. Red chalk.


Michael Whynot. Figure Study, 2013. Red chalk.

Michael Whynot. Figure Study, 2013. Red chalk.



Michael Whynot. Figure Study, 2013. Red chalk.





She Walks in Beauty

                                                                         BY LORD BYRON (GEORGE GORDON)
She walks in beauty, like the night
   Of cloudless climes and starry skies;
And all that’s best of dark and bright
   Meet in her aspect and her eyes;


    I know grace when I see it. Defining grace, however, is somewhat more difficult, although Merriam-Webster defines it, at least for our purposes, as: ease and suppleness of movement or bearing...

    Ease and suppleness of movement or bearing. As I stated, above, I know it when I see it, but explaining why, exactly, one person has it, while another does not, eludes me. Grace can mean the difference between an adequate drawing and a great drawing. Grace of form has the power to inspire us and can elevate our drawing with its mere presence.

    I yearn for this trait in the models I draw. I believe that, for the most part, models may not understand this trait or even recognize it in themselves. Grace is something which comes naturally and I am uncertain whether it can be nurtured or not.

    I believe that Lord Byron was describing grace in his beautiful poem:

                                                She walks in beauty, like the night
   Of cloudless climes and starry skies;
And all that’s best of dark and bright
   Meet in her aspect and her eyes;
    
    Meet in her aspect and her eyes. If we, as draftsmen, can but capture this elusive aspect in our drawings, they will be, unquestionably, the better for it. But seeing grace is the precursor to drawing grace. So, perhaps, grace must be present in both artist and model. Perhaps grace is what we, as artist, see.