Sketchbook Work - on the road sketches

More interacting figures.

Faces and Hands

We were given guidelines on how to draw hands and faces.
By drawing out a light circle showing the size of the face, then marking the chin, a curved line for the eyes - which connects to the ears, showing the angle of the face, marking out the nose and the mouth, and filling in the reast of the details afterwards, it becomes much more easy to position features of the face, instead of just roughly guessing where each individual feature is positioned.



For hands we were told to draw a rough rectangle shape, representing the palm, and draw little cirlces for all the joints of the fingers to get the angle right. Also by drawing the shape made by the tips of the fingers using light lines, it becomes much easier to understand how long the fingers should be and how they should be positioned.

props

This model was asked to use various cloths in her pose, and we had to draw them with her figure. Because they were draped over her, the angle of the cloths actually helps give depth to the figure due to the curvature of the cloth going round her limbs.

interacting figures

These two images are examples of interaction between two figures. We were focusing on the shapes they made, how they leant towards each other, how they interacted, and the negative spaces between them.

This image was a series of quick poses that we had to draw, focusing on the line of action, which is the line down the image that shows the angle of the body and the type of shape it's movement it is making.

5 minute, 3 minute, 2 minute, 1 minute drawings

These were consecutively... 5 minute, 3 minute, 2 minute and 1 minute drawings, designed to help us quickly figure out the rough position of the model without bothering with the details to start off with - so we can learn to do this first when drawing anything and then put the detail on afterwards.




By drawing these from a slightly longer time frame, to a very short one we gradually got quicker at getting the rough pose on the page and this helped with figuring out where everything was positioned in relation to the rest of the figure. If we mapped out the rough figure first, then we could easily correct it afterwards, having a base to work from, making our drawings much more in proportion.

Images including the surroundings of the model so you are more aware of where she is meant to be positioned in correspondence with the background.

Movement

These drawing were drawn without looking at the page so we could just draw the movement of the model and the shapes she was making, without going into detail with the body.




Here we had to draw a moving pose, so the lines overlap themselves as the model moved.