The Expressive Figure Assignment

Concept: Graphical Attractors, Visual Trajectories

 and Substrate Flux applications

Materials:

Materials

•  Vine or Willow Jumbo Charcoal ( Generals, Coates, etc.),  
• Compressed Charcoal ( Sooty Black)
•  Dry Media Sources: Hard Pastel sticks (NuPastel, Creatacolor, etc.)  Conte Crayon, Stabilo Pastel Pencils or equivalent, Soft Pastels(Neutral colors) for toned paper fabrication
•  Canson Mi Tientes toned paper or Strathmore toned 90 lb drawing paper 12" x 19" or similar Ledger or any similar 60 to 90 lb paper
•  Faber-Castell Kneaded Eraser or Chamois cloth

Any Media that is appropriate to your response

Suggested Methodology to Begin the Drawing:

Starting with charcoal, use a collection of sweeping inverse radial arcs to describe the action /gesture of the figure. Visualize these arcs as defining the "envelope" of the figure, ie. within the overlapping arcs is the area that the figure occupies, and outside of these arcs is the "flux" or everything that's background or negative space.

Then within the interior space defined by these arcs/envelope,  quickly and lightly sketch a gestural mannikin of the pose beginning at the pelvis. This mannikin is geometrically analogous to a "doll" with a peanut-shaped volume approximating the torso, cylinders for limbs and neck, and an ovoid for the skull. Orient the mannikin in space by drawing a "medial line" through the center of the front and back of the torso as well as the center and back of the neck and skull. 

You may use any pose, with or without props. What is important is that you must bring yourself to your work to develop it beyond what you see. While drawing from the model, look for aspects of the model or the model's attitude that you could dramatize. Allow for changes as you progress and continually and aggressively rework the media, erasing or adding multiple layers if required. The gestural action of the drawing is an important part of the drawing. Direct the work toward a more potently charged statement, following intuitive hunches but also stepping back and evaluating what you have drawn, not in terms of its realism but rather in terms of how effectively it gives the figure a heightened presence that is realized through the drawing process. The final drawing should be as much about you and your expressive action as it is about the model's pose.

Assignment: Explore how to create visual trajectories that enable the viewer's eye to move throughout the composition- first by funneling the interest toward a primary attractor and then, like pearls on a string", creating a hierarchical sequence of eye tracking that uses contrast "frisson" as the ingredient which provokes the movement oif visual attraction. Remember-placement and croppping enhance the dialogue with the viewer and as such be aware of the dynamics of the 2D picture plane.. Be aware of those concepts as tension, mood, narrative, and sexuality, as well as how positive and negative space provokes and/or assures the viewer. It's not enough to just "plunk" the figure in the middle of the page and render it.  In Brown and McLeans' "Drawing from Life", they remind the artist that, "you are not just drawing the figure, rather, you are using the figure to construct a whole composition." As Degas once explained, "The dancer is only a pretext for a drawing."

In the following photo stills of Ralph, select one or two drawings and emphasize how the viewer's eye "moves" through the drawing along "trajectories" using "frisson (contrasts ) as a mechanism of movement. Refer to the Guido Reni paintings to see how to utilize dynamic trajectories. As with the previous lesson, create drawings that utilize a toned background, as seen below in the Harry Carmean drawings, and as demonstrated in class, using charcoal or pastel wiped to achieve a "flux" ground. Using a light touch (payssage), apply a light broken contour using vine charcoal that is more implicit than explicit to describe the figure itself and then create a strong graphical attractor using pastel or compressed charcoal to emulate the hair or background element and introduce a subtle color attractor to offset (counterbalance) the monochrome neutrality. Try to utilize an adjacent tone to create an edge rather than resort to an outline or contour. Remove lights using a kneaded eraser by removing the flux tone to reveal the light tone of the paper trying not to resort to using white pastel to hatch the lights. Refer to the Carmean drawings and my own demonstration for more info.

Guido Reni

Harry Carmean

Keith Gunderson

The Expressive Figure 4_17_2024

 

The Expressive Figure Assignment

Concept: Design and Visual Trajectories

Materials:

Materials

•  Vine or Willow Jumbo Charcoal ( Generals, Coates, etc.),  Graphite lead and holder
•  Dry Media Sources: Hard Pastel sticks (NuPastel, Creatacolor, etc.)  Conte Crayon, Stabilo Pastel Pencils or equivalent,
•  Canson Mi Tientes toned paper or Strathmore toned 90 lb drawing paper 12" x 19" or similar Ledger or any similar 60 to 90 lb paper
•  Faber-Castell Kneaded Eraser or Chamois cloth

Any Media that is appropriate to your response

Suggested Methodology to Begin the Drawing:

Starting with charcoal, use a collection of sweeping inverse radial arcs to describe the action /gesture of the figure. Visualize these arcs as defining the "envelope" of the figure, ie. within the overlapping arcs is the area that the figure occupies, and outside of these arcs is the "flux" or everything that's background or negative space.

Then within the interior space defined by these arcs/envelope,  quickly and lightly sketch a gestural mannikin of the pose beginning at the pelvis. This mannikin is geometrically analogous to a "doll" with a peanut-shaped volume approximating the torso, cylinders for limbs and neck, and an ovoid for the skull. Orient the mannikin in space by drawing a "medial line" through the center of the front and back of the torso as well as the center and back of the neck and skull. 

You may use any pose, with or without props. What is important is that you must bring yourself to your work to develop it beyond what you see. While drawing from the model, look for aspects of the model or the model's attitude that you could dramatize. Allow for changes as you progress and continually and aggressively rework the media, erasing or adding multiple layers if required. The gestural action of the drawing is an important part of the drawing. Direct the work toward a more potently charged statement, following intuitive hunches but also stepping back and evaluating what you have drawn, not in terms of its realism but rather in terms of how effectively it gives the figure a heightened presence that is realized through the drawing process. The final drawing should be as much about you and your expressive action as it is about the model's pose.

Assignment: Explore how to create visual trajectories that enable the viewer's eye to move throughout the composition- first by funneling the interest toward a primary attractor and then, like pearls on a string", creating a hierarchical sequence of eye tracking that uses contrast "frisson" as the ingredient which provokes the movement oif visual attraction. Remember-placement and croppping enhance the dialogue with the viewer and as such be aware of the dynamics of the 2D picture plane.. Be aware of those concepts as tension, mood, narrative, and sexuality, as well as how positive and negative space provokes and/or assures the viewer. It's not enough to just "plunk" the figure in the middle of the page and render it.  In Brown and McLeans' "Drawing from Life", they remind the artist that, "you are not just drawing the figure, rather, you are using the figure to construct a whole composition." As Degas once explained, "The dancer is only a pretext for a drawing."

Select one or two images of Izoara and create drawings that utilize a toned background, seen below in the Harry Carmean drawings and as demonstrated in class, using charcoal or pastel wiped to achieve a "flux" ground. Using a light touch (payssage), apply a broken contour that is more implicit than explicit to describe the figure itself and then create a strong graphical attractor using pastel or charcoal to emulate the hair and introduce a subtle color attractor to offset (counterbalance) the monochrome neutrality. Try to utilize an adjacent tone to create an edge rather than resort to an outline or contour. Refer to the Carmean drawings and my own demonstration for more info.

Harry Carmean

Keith Gunderson

The Expressive Figure 4_10_2024

 

The Expressive Figure Assignment

Concept: The Meditative Composition

and

Light & Structure

The Cameras Influence

Part III

Materials:

Materials

•  Vine or Willow Jumbo Charcoal ( Generals, Coates, etc.),  Graphite lead and holder
•  Dry Media Sources: Hard Pastel sticks (NuPastel, Creatacolor, etc.)  Conte Crayon, Stabilo Pastel Pencils or equivalent,
•  Canson Mi Tientes toned paper or Strathmore toned 90 lb drawing paper 12" x 19" or similar Ledger or any similar 60 to 90 lb paper
•  Faber-Castell Kneaded Eraser or Chamois cloth

Any Media that is appropriate to your response

Suggested Methodology to Begin the Drawing:

Starting with charcoal, use a collection of sweeping inverse radial arcs to describe the action /gesture of the figure. Visualize these arcs as defining the "envelope" of the figure, ie. within the overlapping arcs is the area that the figure occupies, and outside of these arcs is the "flux" or everything that's background or negative space.

Then within the interior space defined by these arcs/envelope,  quickly and lightly sketch a gestural mannikin of the pose beginning at the pelvis. This mannikin is geometrically analogous to a "doll" with a peanut-shaped volume approximating the torso, cylinders for limbs and neck, and an ovoid for the skull. Orient the mannikin in space by drawing a "medial line" through the center of the front and back of the torso as well as the center and back of the neck and skull. 

You may use any pose, with or without props. What is important is that you must bring yourself to your work to develop it beyond what you see. While drawing from the model, look for aspects of the model or the model's attitude that you could dramatize. Allow for changes as you progress and continually and aggressively rework the media, erasing or adding multiple layers if required. The gestural action of the drawing is an important part of the drawing. Direct the work toward a more potently charged statement, following intuitive hunches but also stepping back and evaluating what you have drawn, not in terms of its realism but rather in terms of how effectively it gives the figure a heightened presence that is realized through the drawing process. The final drawing should be as much about you and your expressive action as it is about the model's pose.

Assignment: Using the quick compositional exercise as a guide, sketch out a few small thumbnails of the pose you wish to portray and explore how placement and croppping enhance the dialogue with the viewer. Be aware of those concepts as tension, mood, narrative, and sexuality, as well as how positive and negative space provokes and/or assures the viewer. It's not enough to just "plunk" the figure in the middle of the page and render it. The larger drawing should not just be an enlargement of the smaller sketch more a complete and more developed idea. In Brown and McLeans' "Drawing from Life", they remind the artist that, "you are not just drawing the figure, rather, you are using the figure to construct a whole composition." As Degas once explained, "The dancer is only a pretext for a drawing."

In the following photo stills of Mikym. These poses emulate the pastels and paintings by Degas of a woman at her dressing table or at the bath.