The Expressive Figure 6_1_2022

 

The Expressive Figure Assignment

Concept: The Envelope

Silhouette and Mass

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 an 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.

Choose three poses and explore the quality of :

Mass and Envelope

Conceptualize the figure in its entirety by visualizing an envelope that contains the mass of the figure- NOT an outline, although using a contour outline to begin the containment. Try to work out from the center and be cognizant of the pressure applied to the charcoal. More pressure for thicker more dense mass- lighter pressure as you move outward to the extremities. Once a potent mass is established, finish with a meandering contour line that defines the form.

The Expressive Figure 5_25_2022

 

The Expressive Figure Assignment

Concept: The Envelope

Silhouette and Mass

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 an 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.

Choose three poses and explore the quality of :

Mass and Envelope

Conceptualize the figure in its entirety by visualizing an envelope that contains the mass of the figure- NOT an outline, although using a contour outline to begin the containment. Try to work out from the center and be cognizant of the pressure applied to the charcoal. More pressure for thicker more dense mass- lighter pressure as you move outward to the extremities. Once a potent mass is established, finish with a meandering contour line that defines the form.

The Expressive Figure 5_11_2022

 

The Expressive Figure Assignment

Concept: Selective Emphasis-

Orchestrating Trajectories

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.

Choose three poses and explore the quality of :

Selective Emphasis

Orchestrating Trajectories

The artist can create emphasis between areas of the drawing, using differences in texture, value, and contrast. Using the Binary Law of Contrast, calibrate the trajectory of the path you wish the viewer to take as they gaze at the drawing. 

The Expressive Figure 5_4_2022

 

The Expressive Figure Assignment

Concept: Emphasis

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.

Choose three poses and explore the quality of :

Emphasis

Impart more data in some areas and counterpose that with areas of less data. Detail is balanced against vagueness as a total effect.

Be reminded that some aspects of the body, ( faces, hands, feet, and genitals ) have  increased frisson or "irradiance", and will attract the eye more easily and this will have to be factored into how you calibrate where the eye will go. The artist may have to intentionally obliterate or "ghost" a too realistic head or hand because it upsets the sequence within the drawing proper. This sequential trajectory of the eye starts then, to impart a narrative, as the artist consciously ( perhaps subconsciously as well) imparts data throughout the drawing much as a novel imparts data through a sequence of chapters.

Brush and Ink with Hake brush

very loose and non specific(brut) quality

Pen and Ink on top-

 finishing the drawing with concentrated data specific marks