The Expressive Figure 11_4_2021

 

The Expressive Figure Assignment

Concept: Using drapery to describe volume

and use structural /planar analysis to represent the volumes

Materials:

Materials

•        Vine or Willow Jumbo Charcoal, Graphite lead, ballpoint pen,crayon
•         90 lb drawing paper 12" x 19" or similar sketchbook
•        Faber-Castell Kneaded Eraser

Starting with charcoal or graphite, quickly sketch draw a gestural mannikin of the pose with the emphasis on proportions and action. This should take fifteen seconds or less.

With the template of the mannikin pose as a guide, consider how the drapery and hat conform to a three-dimensional occupancy of form.

Using Structural /Planar analysis draw at least three poses emphasizing  "geometric block-like" volumes. Analyze the underlying structure of the different "units" of the body- limbs, torso, head, and pelvis, and create "planar" representations of these units.

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Luca

Cambioso

Luca Cambiaso 18 November 1527 – 6 September 1585, was the son of a painter in GEnoa and from an early age exhibited great precocious abilities. was an Italian painter and draughtsman and the leading artist in Genoa in the 16th century. He is considered the founder of the Genoese school who established the local tradition of historical fresco painting through his many decorations of Genoese churches and palaces. He produced a number of poetic night scenes. He was a prolific draughtsman who sometimes reduced figures to geometric (even cubic) forms. Cambiaso was a prolific draftsman. In his early drawings Cambiaso showed a preference for bold foreshortenings and exaggerated gestures. In the mid-1560s he began to draw in a simplified, geometric style that may have been inspired by similar works by Albrecht Dürer and other German artists.  His main influences are said to have been Correggio and the Late Renaissance Venetian school. His extreme facility astonished the Spanish painters. It is said that Philip II, watching one day with pleasure the off-hand zest with which Cambiaso was painting a head of a laughing child, was allowed the further surprise of seeing the laugh changed, by a touch or two upon the lips, into a weeping expression. The artist painted sometimes with a brush in each hand, and with a certainty equalling or transcending that even of Tintoretto. His fresco technique was very spontaneous and he used small drawings to create full-size sketches on the walls without the aid of cartoons. The enhanced geometry of the figures lends an animated quality to the groups of figures. He was keenly interested in foreshortening and how the illusion of space could be enhanced by accentuating the volumes of the form. He did this by also using shaded planes on his geometric mannikins which exaggerated the differences between planes at different angles. Harder edges create a greater degree of plane change, a softer-edged one, a more subtle angle of change. Using one or two values he created a position of light relative to the planes from which the viewer can reconstruct the space.