Look at people (including yourself) in the flesh, in magazines, TV and other places and study the individual features. Practice drawing in my sketchbook a couple of pages per feature – different kinds of nose, eyes, ears, lips, chin, hair, eyebrows etc. If this helps use an enlarging grid to scale up a found image. Bear in mind that tonal variation, hatching an curved lines help model the form of facial features in the same way as they do in still life or landscape.
When you feel fairly confident draw an entire face.
I was not to worry if my lines and marks overlap and become untidy, and shouldn’t erase don’t erase mistakes. The workings and reworking’s are part of the thinking process and show are to show my tutor that I understand where you I went wrong and worked to put it right.
I was on holiday when I did most of this and had nearly run out of space in my carried sketchbook, so used loose sheets for most of it, although it is difficult to keep tabs on how much work is put into this when I am drawing people all the time. I used various media in my drawings and tried two sketches of a full face one in the main a line drawing of Miss Marple (Joan Hickson). The second was a version of my daughter who was posing with expression for a photo she was having done. This was drawn using charcoal and largely a tonal piece.
I have drawn all at a relatively quick pace as I know this is one aspect of drawing I am not good at. I don’t seem to have a brain that can compute quickly, but am pleasantly surprised my speed/accuracy ratio is getting better. This is a good exercise to show the difference in shape, tone, size of a humans features. I feel now that I would like to try and draw faces with less line and more tone. I never thought I would be inspired as humans have never been my chosen topic of drawing, but I am enjoying Part 4, and have treated myself to a book called, Figure Drawing For All It’s worth by Andrew Loomis.
For this exercise I had to people watch human movement and interaction. I had to observe different kinds of people how they stand, interact what they carry, etc I had to do a few small and quick sketches on the spot or take a few discreet photos and try to keep the atmosphere of the scene in my memory until I got home, trying to recapture the movement, drama, noise etc in your sketches.
I actually did all my sketches on site as I was on holiday at the time. I followed the same method as with exercise one. The first sketches were on a crowded beach, people were moving and although it wasn’t strictly drawn an interactive group, it was much to large and busy, it was a group of people enjoying the pleasures of the beach in their individual manner. Drawing 2 was a group of people wandering around a shopping area. Drawing 3, band members on a break enjoying conversation and a cup of tea they seem to have the figits though and I couldn’t get them finished. Drawing 4 were people waiting for a boat at the quay, there was no form of queue just a slowing wandering group of people enjoying the view of passing boats, a small dingy can be seen in the top right of the sketches. This and Drawing 5 are not strictly the group as described but they were in the area at the same time, so they even though they may of been drawn as a single figures, they were together in the same area at the same time. They too were far too mobile and too great in number to capture in the moment. Drawing 5 were pleasure golfers, families couples etc all using the same golf course but drawn as individuals in no particular order. Drawing 6 and yes more playing golf, you would think I was a golf fanatic, but actually I don’t play, I just like sipping coffee. This was a family group who seemed to take their swing more serious and I had a little more time to draw them. The shading was done after the drawings so not strictly completed at the time
I know only 3 drawings were actually drawn as an interactive group, but I felt they the other 3 were good examples of an interactive group of people caught in their moment. In picture 5 the little cat had gone around visiting all the golfers in turn so I included it within the picture as it formed part of the atmosphere.
This exercise asked how successful was I in my attempts to retain an image of a scene to draw later, as I followed the first option of this exercise and did all my drawings on site I can’t answer that, however I will try this option of the exercise at a later date.
As with exercise 1 I feel I need a lot more practice with figure drawing at speed. Surprisingly I have enjoyed it, I think because it is a challenge and I found it difficult. Equally I can’t help feeling embarrassed at my inaccurate drawings. Its a must do better for me I think, having said that I think I managed to show movement atmosphere and interaction within the sketches.
For this Exercise I have been asked to draw the moving figure in my sketchbook, a page a day. I have been asked how well I have done. Well ….this was not easy, however I did a number of sketches of single figures which spilled into the groups exercise. What I have done is choose a selection of some of the sketches as there was too many to put on my blog. I have picked the ones that held emotion and memory, I had no difficulty in looking for quality, as I am sure it can be seen I need practice. This exercise was attempted earlier than most of the exercises already posted before it and I think I can now see my work has improved since these they were done.
To be fair figures are not my thing and I found this incredibly hard, no sooner did I start the drawing, the person had moved on. Proportion went out the window in a lot of cases, as to begin with the speed I had to draw actually scared me. Now I may still be gaining the skill but I enjoy it and will continue drawing the moving figure. It certainly makes you learn and quick. There was no second guessing if I didn’t get the line down whilst it was happening I finished the drawing, this means there are several part people. I wanted to leave it like this, as it becomes more of a challenge and means I will try to get better, pride hurts, but it does make you want to improve.
For this exercise I was to look for the line of balance or the centre of gravity in a standing figure, it begins at the top of the skull and passes through the middle of the nose straight down the middle of the chest cavity. With a back view the line starts from the back of the neck on the spinal column.
From a side view this line of balance starts at the back of the ear and travels down to the weight bearing foot.
The line indicating the central axis also helps indicate where the body mass or majority of the body weight is placed. If the figure moves or if the model sits the weight or mass changes to a different area of the body.
Move around the model before you begin to draw to get a sense of where the figure is in its allotted space and to identify its centre of gravity and gesture. Mark the central axis in your initial sketches of the standing figure. Ask the model to change poses every two to five minutes. Draw as many quick poses as you can.
I had just treated myself to a book by Andrew Loomis, Figure Drawing For All Its Worth. He teaches that the main wight is distributed within a rectangle if on two feet, or triangle if on one. I tried this out as can be seen in the pictures above and it seemed to be a good way of seeing where the main body weight is placed, in certain poses it does follow the central axis and divides the body in half.
I did this from photographs as my model wasnt available. I must say I have decided to go on a diet after seeing them. What I took from this is the center of gravity will be more important if you were drawing from your own imagination. It will give a good guide as to whether the figure can balance and the stance is actually possible.
I had to draw a model in a comfortable position, start by doing five 2minute sketches of the model using basic lines that describe the figure. I then had to follow that up with two 10 minute drawings follow that up with more using different media.
The above are the preliminary 2 minute drawings done.
The above drawings are 10 minute sketches in Graphite, Coloured Pencil, Wax,
Pen, and Graphite Stick.
I did a final drawing of 15 minutes in Charcoal.
Overall there was very little time to get proportions they have to be done by eye. After the first couple of sketches I realised that I could cut the body into thirds. From the shoulders to waist, waist to knee and knee to feet. I found it did concentrate your mind and at the end of the exercise I drew a final drawing in 15 minuets. Amazingly it was much better than I expected, it even looked like my model, which surprised me. I felt less wrapped up in the aesthetics and concentrated more on freedom of my line and getting the mind to recognise shapes within the subject. The one thing I did have problems with is my model had trouble sitting still and her position changed, overall though I am guessing this adds to gaining the skill of putting down a subject as quickly and accurately as possible within a limited time scale. This can be a problem when sketching in the field. I would benefit from more sketching like this to free up and concentrate where I place my mark as at times I can lack fluency.
These were to be quick sketches around the house using a selection of drawing Medium. I chose Derwent Watersoluble Graphite Pencils, Derwent Watercolour Pencils, Charcoal, normal Graphite Pencil and Ink and Dip Pen. I was dreading this exercise as I am not good at quick sketches, but I think they turned out better than I was expecting.