This the Cafe Sketch class blog of Alex Trimpe. Created August 2012.
Wednesday, September 26, 2012
Ballet 9/26
I did this outside of class because I was unable to make it to the actual Ballet class. Tried to focus on freeing my hand... following the dancer throughout the dance instead of focusing on one position..
If you are trying to free your hand up, I would try scribbling more instead of just putting down one line. In these drawings, some of the lines look shaky, as if they were drawn with one, slow stroke of the pen. If you try to keep your hand moving across the page without stopping while you're drawing, it might help you get loose.
Alex, These definitely are more free drawings but try not to overlap the drawings - give them their own space. You are too fixated on sticking with contour lines. If you need to draw construction lines and ovals for the hips and elongated ellipses for the limbs, please do so. If you are simplifying the forms, try to taper the limbs better. You are struggling too much with proportion to work too loosely. A helpful workflow is to draw a subject standing in a more or less neutral standing position, then use it as your proportional key to make a more dynamic pose. This is essentially how animators work more to stay on model - but it helps to understand form construction.
If you are trying to free your hand up, I would try scribbling more instead of just putting down one line. In these drawings, some of the lines look shaky, as if they were drawn with one, slow stroke of the pen. If you try to keep your hand moving across the page without stopping while you're drawing, it might help you get loose.
ReplyDeleteAlex,
ReplyDeleteThese definitely are more free drawings but try not to overlap the drawings - give them their own space. You are too fixated on sticking with contour lines. If you need to draw construction lines and ovals for the hips and elongated ellipses for the limbs, please do so.
If you are simplifying the forms, try to taper the limbs better.
You are struggling too much with proportion to work too loosely.
A helpful workflow is to draw a subject standing in a more or less neutral standing position, then use it as your proportional key to make a more dynamic pose. This is essentially how animators work more to stay on model - but it helps to understand form construction.