Blind Contour Drawing / Gesture Drawing (Line or Planes of Light and Dark) and Short Poses


 Blind Contour Drawing
Pencil

 Blind Contour Drawing
Pencil

Blind Contour Drawing
Pencil

Blind Contour Drawing
Pencil



Line Gesture Drawing (1 min pose)
Pencil


Line Gesture Drawing (1 min pose)
Pencil


Line Gesture Drawing (1 min pose)
Pencil



Line Gesture Drawing (1 min pose)
Pencil


Light & Shadow Gesture Drawing (1 min pose)
Woodless Pencil or Graphite Stick

Light & Shadow Gesture Drawing (1 min pose)
Woodless Pencil or Graphite Stick

Light & Shadow Gesture Drawing (1 min pose)
Woodless Pencil or Graphite Stick

Light & Shadow Gesture Drawing (5 min pose)
Woodless Pencil or Graphite Stick

Light & Shadow Gesture Drawing (5 min pose)
Woodless Pencil or Graphite Stick


Light & Shadow Gesture Drawing (12 min pose)
Woodless Pencil or Graphite Stick


Light & Shadow with Cross-Section Gesture Drawing (12 min pose)
Vine Charcoal



Light & Shadow Gesture Drawing (5 min pose)
Charcoal with additive and subtractive drawing processes



Light & Shadow Gesture Drawing (5 min pose)
Conté


Line Drawing Objectives/Requirements

Layering  Process (10%): As in most drawings for this figure study course Line Drawing is a layering process that starts tentatively (drawn lightly and rough with fluid line) A line drawing in early stages initially maps out subject matter (and ideas) in basic shapes (planes and other basic shapes) No detail in beginning stages of figure drawing.

For longer poses, tentatively (lightly) map out entire composition before committing to detail or exact locations of shapes. Overall anticipate at times a messy process of restating and editing to occur during the layering process. Neatness, detail, contrasted (darker and thicker) line will strategically occur in later stages of layering process.  Generally the line drawing should be a record of thought processes  depicted through layering and primarily additive revisions. There should be very minimal use of the eraser! (Never use an erasure during very short poses and gesture drawings)

Accurate Proportion (and sometimes Perspective) (45%): Utilize measurements, and horizontal/vertical alignments when working with the figure from observation.

For the sake of proportions if possible it is most ideal to start the drawing in the center and usually from the torso area, working directly out and around from an initial shape (that is usually rectangular or square in shape such as the torso). Use initial shape (usually the torso) as a building block and as a reference for comparing proportion and choosing composition.

When working from observation as an option general  theories of perspective (vanishing points & horizon line) can be used but only at later stages of drawing.  Perspective (as an option) can sometimes be used auxiliary tool for checking accuracy of proportions, scale, etc. Whether working from observation or constructing an imaginary scene do not lock into horizon line and vanishing points until proportions are resolved.

Fluid Line and Various Line Characteristics (20%) : Fluidness and strategic use of line weight variation will bring depth of space, sense of 3 dimensional masses, character and life into the drawing. Repetition and taking the time to practice and figure out a way to enjoy the act of drawing will always improve line characteristics or qualities in any drawing process. In the early stages of the line drawing keep the line thin and light. As the drawing develops towards the later stages anticipate variations of line characteristics to include ranges from curved to angular, quick to careful line applications on the drawing surface and in some areas progressions from thin to thick lines and light to dark lines. (Let the line flow!)

Strategic Use of Detail (12%): Anticipate that progressively there will be less detail as the viewer moves back into space of the picture plane. Some forms on the model/figure and any objects or planes surrounding the figure may require various levels of detail in foreground and at times in the middleground. This is the final stage of the layering process. Make time to allow for some careful finishing touches and to strategically refine or layer over rougher areas in the work.

Mass/Volumes & Space (10%): Clear depiction in the illusion of 3 dimensional forms in space that progresses in a clear manner from foreground to background. Over lapping of forms and strategic use of detail, line variation, angles and composition will all be crucial in achieving a strong illusion of 3 dimensional mass and depth of space.

Composition (3%): Locate an interesting view with a reasonable level of difficulty that is unique and has complex interactions of shapes through out picture (including border of drawing) and choose a composition that is conducive for presenting the objectives for the assignment. In terms of composition also consider how the white space of the page works around the figure and within the negative spaces created by the figure.