Lines of the Day: August 19, 2015.

Michael Whynot. Head studies. Red chalk.

Why is the human form so challenging to draw? Why do draftsmen struggle with the head, for instance? It is due to the simple fact that we are attempting to represent on a two dimensional surface, something which is constructed in three.

Notice that when children draw the head, it is usually in profile, or straight on, and typically flat; they ignore the dimension of depth entirely. But, if we want to progress in our work, we must embrace depth.

And, even then, if we think we have a system down for drawing the head, suddenly the model turns to a three quarter view, and everything changes; that is our next problem: three dimensional objects, in nature, rarely look the same once our point of view changes. Heads twist, tilt, raise and lower; often doing all simultaneously. And every part of our human anatomy poses similar difficulties. This is why mastery of the human form can take a lifetime. But, like any ability, hard fought for, the rewards are well worth the struggle.

Drawing: Structure, the Foundation of Form.

Michael Whynot. Portrait study. Red chalk.

Michael Whynot. Portrait study (early stage). Red chalk.

A good drawing begins with gesture: a unifying thrust flowing through the form. But, once the gesture is captured, the draftsman must shift their attention to the skeletal structure underlying the form. Whether this is something they draw in any detail depends upon the individual draftsman. The better they understand the structure, the less they need to actually draw it. And, this rule applies to anatomy in general: the better you understand it, the less important it becomes, because you internalize the entire process.

Above, top, is a one hour drawing I did earlier today and the initial, block-in stage, beneath it, showing some of the bone structure which occupied my thinking as I began.

But, again, once you know the structure, you don't need to consciously consider every bone and and muscle; you understand where they are, so you see and use them without thinking - like following your familiar route home at night.

Current Drawings

Michael Whynot. Arm Study, 2012. Collection of the artist.

Michael Whynot. Arm Study, 2012. Collection of the artist.

Michael Whynot. Arm Study, 2012. Collection of the artist.

Michael Whynot. Arm Study, 2012. Collection of the artist.

Michael Whynot. Arm Study, 2012. Collection of the artist.

Michael Whynot. Arm Study, 2012. Collection of the artist.

I've been busy for the past couple of weeks. Just thought I would post a few arm studies done from both life and the imagination, as always, attempting to emphasize the three-dimensional volumes, as depth is what I see lacking in many beginner's draftsmanship.