Posts Tagged ‘figure drawing’

Last figure from this latest batch of colored pencil figures that I’ve been posting. This one was done with a henna colored pencil on pearl paper with white for the highlights.

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Here is another figure drawing done in burnt sienna colored pencil, with white and cream for the highlights. I also worked in some henna colored pencil where the light comes out of shadow to give the figure some life. It looked pretty lifeless with just burnt sienna.

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Henna and white colored pencil on pearl paper. The henna colored pencil is a lot more pink than you might expect.

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Drew from a model in class for a few days using colored pencil. We started out sketching the figure in graphite first, then we went over the drawing lightly with a dark colored pencil. The graphite was then erased and we proceeded to render the figure with both a dark and light colored pencil.

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Here are the final figure drawings from this semester’s figure drawing class. I do like these two drawings because I was finally comfortable doing something a little different.

I went back to conte for these last drawings because I have really enjoyed the range of values that I am able to get with a conte pencil without having to deal with all of the mess of charcoal. The background in the picture above was really critical to the whole composition.

Above is the very last drawing that I did for this class. And it was one of the only drawings which we got a little bit of a prompt for. My professor said to the class that we should make sure to include the face, hands, and feet in this last drawing. I had been doing this all along, and almost everyone of my drawings from the semester has contained the hands, feet, and face. But hearing the requirement spoken aloud gave me a new idea on how to compose the drawing. I took the body apart, and recomposed it in a new way that, while most of the torso has been omitted, still has the same feeling of volume and personality as the body in its original form. Too bad this breakthrough came to me on the last day of class. 😛

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Typically when you set out to draw something, you draw with a relatively short utensil, using your dominant hand. This is how everyone learns to draw, and it is what is most comfortable. But for these drawings we weren’t supposed to be comfortable. No, we were supposed to struggle and loosen up and flounder about our drawings.

Have you ever drawn with a three foot long stick before?? Tape a big piece of charcoal to the end of a long stick, and this is what the drawings look like.

I actually had a really fun time making these drawings. It was something totally different and it was refreshing to try. First, I drew a rough sketch of the figure with my long stick, and then, with my hand, I blurred out that whole drawing, and then drew over it to refine the drawing. It is very very difficult to control a piece of charcoal three feet away from you. My stick was also curved so I had to compensate for that as well. But drawing the figure twice allowed room for error in the first drawing, and refinement in the second layer of charcoal. Being literally out of control while making a drawing changed my whole approach. Typically, I like to do a perfect sketch, then budget my time rendering each section of the body until class is over, but when drawing with a stick, there was no way that I was going to get the clean, precise lines that I typically strive for. So, I didn’t even try to make my drawings perfect. I allowed myself to be much more gestural and fluid than  normal, and I had a good time doing it. After the charcoal was all done, I went back in which some white charcoal pencil (not on a stick) to bring out some of the high lights. The paper I was using was a cardboard-brown, and so the white stood out nicely.

Then we were asked to do a drawing with our non-dominant hand. We didn’t have to use a stick this time, but if you are not ambidextrous and have ever tried to write with your wrong hand, you know how difficult it is to control the pencil. Though I am partially ambidextrous, I do not practice with my right hand and so it was still very difficult to get the marks where I wanted them. I focused on the line quality of the piece, and decided not to get into extensive rendering because I had to work so slow to control my shaking hand. Just like the stick drawings, being out of control gives the drawing character and energy.

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Here is another batch of figure drawings from this semesters figure drawing class. The first few drawings in this lengthy post are done in pencil. I hadn’t used much pencil in this class before the midterm, and so I wanted to make sure that I got enough practice with pencil in before the semester ended. Drawing and rendering a full figure in two hours in pencil can be very difficult because pencil is such a light, hard medium. Tones have to be built up slowly by hatching, and it is difficult to make changes to a pencil drawing quickly, especially when drawing with a hard pencil.

In order to save time when working in pencil, I like to build up tones in scribbles that follow the contour  of the figure. This is faster than hatching or using the side of the pencil, but it still creates a pleasing texture.

For one drawing the class got to work from the same pose for two classes, which allowed much more time to build up the drawing. I decided to use pencil for this two day drawing because I do not typically get the chance to fully and delicately render the figure in pencil because it takes so much time.

Below is that two-class pencil drawing. We were also encouraged to add in an invented background, which is something that we didn’t get the chance to do very often because of time constraints.

These next two drawings were done in charcoal. I really like the way that these two drawings came out. Unlike with pencil, charcoal is quick to build up and because it is only loosely adhered to the page, changes are easily made. However, these drawings were made with two different kinds of charcoal, which do behave differently. The one on the left was made with vine charcoal, which is a super soft, fine, light, ghostly medium. The picture on the right was made with hard charcoal sticks and charcoal pencil, which can still be manipulated, but much less so than vine charcoal. Charcoal pencil is darker than vine charcoal and lends itself to a more linear drawing.

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We had less time than usual to draw each of these drawings, so they are all a little more gestural. I however, do not mind this. It is easy to get caught up in the details when given too much time to complete a drawing.

The one above is probably my favorite out of this bunch. I used charcoal pencil on toned paper.

Now this one above, was not supposed to be a quick drawing, but the model was late and then we had the fire alarm go off during class and that cut significantly into our drawing time. Again, I did not mind this because working with vine charcoal goes pretty fast. This was a reduction drawing using only vine charcoal on toned paper.One last drawing.

Don’t forget to check out the rest of my work at http://shaunart.net Thanks for reading!

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Warning: This post contains drawings of nude figure models for academic purposes.

More figure drawing. One of them is more vine charcoal on warm gray paper, and the other is conte pencil on cool gray paper. The thing I like best about the latter, is that we drew the same figure, in the same pose, from three different angles on one page. This was fantastic! We had about 40 minutes to work on each figure. Yet even with much less time, I feel like these figures came out just as good as my other ones. Perhaps because having less time to work in, forces me to draw more loosely and with more energy and purpose. I really enjoyed using the white conte on the grey paper as well to bring out the lights and let the paper be a middle value. I think that my figures are starting to get more volume to them and though class is exhausting at times, I am excited to continue and see how my figures develop.

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Drawing the Figure.

Warning: This post contains drawings of nude models for academic purposes.

I have been cranking out work lately. I guess that makes sense when I am enrolled in more studio classes at once than ever before. The class that turns out finished drawings most rapidly is figure drawing, because for 3 hours, twice a week, we make finished pencil or charcoal drawings of the nude figure. Below I have two examples of such drawings. These two were done in graphite. We had about 2 hours to work on these. The first one uses line to define the figure and suggest form, while the second one starts to work tone into the drawing. I like working from the figure, and have always been pretty good at balancing the figures so that they look like they have some weight to them. The real challenge when drawing the figure under a time constraint is getting all the proportions correct. It takes a lot of time to measure everything, but the quick gesture is an invaluable way to get yourself started on the right track.

I feel like I have already gotten better at measuring the figure without even trying. I’m seeing editing distances automatically, which saves me a lot of time and allows me the chance to develop the line and tone within the two hours that we have to draw. Two hours might seem like a lot of time, but it really isn’t. I wouldn’t say that the time goes by quickly, more like it just takes a really long time to do a well-developed drawing. There’s a lot of pay attention to, afterall! The human figure is a very complicated thing to try and understand.

I’ll be posting a lot of work from this class, so be on the look-out.

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