The Expressive Figure 12_16_2021

 

The Expressive Figure Assignment

Concept: Applying the concept of "Symmetria" and the helix to the human body.

Materials:

Materials

•  Vine or Willow Jumbo Charcoal ( Generals), Graphite lead and holder, ballpoint pen, Crayon, etc
•  90 lb drawing paper 12" x 19" or similar sketchbook
•  Faber-Castell Kneaded Eraser
•  I pad

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 and be in the spirit of what Michelangelo called "the Flame". Think of it as three helixes wrapping around a central core, like ribbons or strands of flame rising and converging above.

With the template of the mannikin pose as a guide, consider how the volumes of the "peanut", "cylinders, and "ovoid" describe the volumes "in space" and can taper as they move away from us and loom larger the closer they are to us. Be cognizant of this "in and out" spatial occupancy known as the "Z" axis.

Visualize the medial line as a sagittal section through the human figure as demonstrated here:

Select at least three poses and emphasize the medial line as it bisects the torso neck and head sagittally. Observe how the limbs on one side of the body relate to their bi-symmetric equivalent on the other side. Notice how elbows and knees are across the medial line from each other- at least most of the time.

The Expressive Figure 12_9_2021

 

The Expressive Figure Assignment

Concept: Applying the concept of "Isonomia" to the human body.

Materials:

Materials

•        Vine or Willow Jumbo Charcoal ( Generals), Graphite lead and holder, ballpoint pen, Crayon, etc
•         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 and be in the spirit of what Michelangelo called "the Flame". Think of it as three helixes wrapping around a central core, like ribbons or strands of flame rising and converging above.

With the template of the mannikin pose as a guide, consider how the volumes of the "peanut", "cylinders, and "ovoid" describe the volumes "in space" and can taper as they move away from us and loom larger the closer they are to us. Be cognizant of this "in and out" spatial occupancy known as the "Z" axis.

Visualize how gravity presses down on the human figure, especially in movement, and how the body compensates for the forces of gravity by "resistance" which is achieved by flexion of muscles. The muscles flex across fulcrums created by adjacent bones and through utilization of a system of three types of levers, is able to sustain the position of the volumes in space. 

One way to visualize this is to "plot" the isonomia of the figure by determining which leg is supporting most of the weight. This leg is serving as a conduit for the gravitational force which is dispersed through the leg into the ground and toward the magnetic core of the earth.

 This is the "teso" leg or "tense "leg. The balancing leg, known as the "rilassato" or relaxed leg can also serve as a conduit for gravity, although much less than the teso leg. From this simple visualization technique, it is possible to create a visual schema whereupon the artist can compute just how the gravitational forces are being distributed down through the mass of the figure. 

Apply Isonomia or by definition, plot how the gravitational vectors are channeled by the figure through the rope, staff, or any prop.

Select at least three poses and show how gravitational vectors are moving through the figure and into the props as they continue their journey towards the magnetic core. Show "Flexion" around those muscles that are doing the most to create "resistance".

The Expressive Figure 12_2_2021

 

The Expressive Figure Assignment

Concept: Applying the light model to the volumes of the body.

Materials:

Materials

•        Vine or Willow Jumbo Charcoal ( Generals), Graphite lead and holder, ballpoint pen, Crayon, etc
•         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 and be in the spirit of what Michelangelo called "the Flame". Think of it as three helixes wrapping around a central core, like ribbons or strands of flame rising and converging above.

With the template of the mannikin pose as a guide, consider how the volumes of the "peanut", "cylinders, and "ovoid" describe the volumes "in space" and can taper as they move away from the viewer as we practiced in the previous perspective of volumes exercise.

We can use Structural /Planar analysis as a way to visualize the "geometric block-like" volumes and then apply the "algorithm" of the light model and construct a series of gradients and edges as a way to describe the form instead of relying on line alone. This light model algorithm informs how values are calibrated based on the volume's proximity to the light source. The human brain then triangulates from this information a more realistic representation of the object in space. A much-valued nugget of wisdom regarding this relationship of light and value, imparted to me by Frank Mason was, "Wherever there is a plane change, there is always a value change."  The eye is not sensitive enough to discern some wavelengths of light and as such, and this is an example of how the artist must sometimes rely on the physics of how light emits, illuminates, degrades, and reflects if only to deliver the truth that is important to that artist's intention.

Apply the light model "Five Planes of Light" onto the volumes of the figure.

Select at least three poses and show how light moves across the volumes of the form,  how cast shadows are created, and how these same cast shadows "move" across adjacent volumes. Show reflected light as it bounces back into the planes that are facing away from the light.