The Expressive Figure
Expressive Figure Assignment
Materials:
- Hake Brush
- Sumi Brush
- Taklon Synthetic Round
- Da Vinci Casaneo Quill Mop
- Reed Pen/Quill
- Chinese Ink
- Chinese Ink diluted 1:3
- Titanium White Gouache/ Gesso/Chinese White Ink
- Titanium White Gouache/ Gesso/Chinese White Ink diluted 1:3
- Dark Ground paper/Canson Mi Tientes black or dark color
- Wan Nian HEI Xuan Black Paper.
- Paper Towel
- Sea Sponge
Concept: Expand the value range from two to three.
First Pass: On dark ground paper and using the aqueous media ( brush with white watercolor/ink), mass the LIGHT shapes with "diluted" watercolor/ink.
Second Pass:Using the "full strength" aqueous media ( brush with white watercolor/ink), brush in the highlights on top of the light shapes.
Draw at least three poses using this light on dark ground technique , paying close attention to the camber and the column of light .
Concept: Expand the value range from two to three.
First Pass:
On dark ground paper and using the aqueous media ( brush with white watercolor/ink), mass the LIGHT shapes with "diluted" watercolor/ink.
Second Pass:
Using the "full strength" aqueous media ( brush with white watercolor/ink), brush in the highlights on top of the light shapes.
Draw at least three poses using this light on dark ground technique , paying close attention to the camber and the column of light .
1.Using a REED PEN, or equivalent) charge the pen with white ink/watercolor and lightly sketch the figure envelope contour.
2. Using a HAKE BRUSH,TAKLON SYNTHETIC ROUND, QUILL MOP, SUMI BRUSH, or similar equivalent brush, paint light shapes/mass using diluted white watercolor/ink color of choice.
3. Using a SYNTHETIC ROUND, QUILL MOP, SUMI BRUSH or similar equivalent brush, paint light shapes/mass using diluted white watercolor/ink color of choice.
4. Soften the lost and found edges.
Suggested Experimentation:
Lost and found edges are determined by the abruptness of planar deviation as well as soft tissue/bone contrast. Soft tissue disperses the light whereas bone reflects the light more completely
Notice how the light moves diagonally across the figure from the upper right skimming across to the upper thigh on the shadow side. Also evident is the cylindrical cast shadow of her left leg across her right leg.
Notice how cast shadows "MOVE" across the volumes, describing their form.
In this session, the light source is lower, almost a side lighting.
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