The Expressive Figure 6_24_2021

 

The Expressive Figure Assignment

Concept: Reductive Technique on toned paper in Dry Media

Materials:

•        Vine or Willow Jumbo Charcoal
•        Canson Mi Tientes toned paper  medium to dark tones(felt grey) 
•        Faber-Castell Kneaded Eraser
•        Prismicolor NuPastel Ivory Hard Pastel #277P
•        Generals White Charcoal
•        Pan Pastel Raw Umber Tint or Neutral Tint
•        Round cotton cosmetic pads

             

Starting with Vine or Willow Charcoal, lightly draw gestural action framework/ wireframe then superimpose volumetric geometry ( cylinders, peanut, Ovoid,etc.) Using a Pan Pastel lighter tint,  apply light areas of illumination on the mannikin.  Emphasize the shadow mass using a unidirectional stroke with the thin/ medium Vine charcoal.

Then, using the Ivory NuPastel or General's White Charcoal, model the lights within the pan pastel applied illumination, paying attention to those areas of high information, realizing they will attract the eye and function as a trajectory for orchestrating the viewers eye through the drawing.

Draw at least three poses - more if you feel so inclined.

The Expressive Figure 6_17_2021

 

The Expressive Figure Assignment

Concept: Reductive Technique in Dry Media

Materials:

•        Vine or Willow Charcoal
•        Canson Mi Tientes toned paper (lighter values)   White #355   Eggshell #112      
•        80 lb. or heavier bond/vellum White
•        Faber-Castell Kneaded Eraser
•        Prismicolor NuPastel Tuscan Red Hard Pastel #273P
•        Pan Pastel White or Neutral Tint
•        Round cotton cosmetic pads

             

Using a Pan Pastel or charcoal powder,  apply a relatively even tone over the paper as a toned ground. Experiment by also using a brushy or directional stroke to give the ground vitality. Create a number of interesting textures as well as practice an even tone with smooth, overlapping strokes.

This exercise will reinforce the concept of "taking away" or removing the tone with an eraser

Draw at least three poses - more if you feel so inclined.

 

The Expressive Figure 6_10_2021

 

The Expressive Figure Assignment

Concept: Preparing  toned paper

Red Chalk Drawing

Materials:

•        Vine or Willow Charcoal
•        Canson Mi Tientes toned paper (lighter values)   White #355   Eggshell #112      
•        80 lb. or heavier bond/vellum White
•        Carb Othello Pastel Pencil Caput Mortuum Red  #645
•        Prismicolor NuPastel Tuscan Red Hard Pastel #273P
•        Pan Pastel Burnt Sienna Tint or similar
•        Round cotton cosmetic pads

             

Using a Pan Pastel or charcoal powder,  apply a relatively even tone over the paper as a toned ground. Experiment by also using a brushy or directional stroke to give the ground vitality. Create a number of interesting textures as well as practice an even tone with smooth, overlapping strokes.

Using an iron oxide colored pastel chalk, begin with lighter gestural action lines and increasingly assert pressure to lay in volumetric forms on the gestural armature. Finish with more specific anatomical details in a few areas of high information anatomy or "frisson".

Draw at least three poses - more if you feel so inclined.

 

The Expressive Figure 6_3_2021

 

The Expressive Figure Assignment

Concept: Drawing On Toned paper

Materials:

•        Vine or Willow Charcoal
•        Charcoal Pencil Generals 6B
•        Canson Mi Tientes toned middle grey or similar.
•        Carb Othello Pastel Pencil White #100
•        Prismicolor NuPastel White Hard Pastel #277P

             

Starting with a basic gestural action line, find the energetic shape of the armature, then indicate the volumes of the figure using cylinders, ovoids, ( rib cage and pelvic peanut ).

Indicate the direction of light and then mass the shadows of the figure on those planes that are turning away from the light. Remember- Similar planes reflect similarly.

Lightly remove shadow mass to indicate reflected light. Indicate on those planes that are turning toward the light where the greatest area of illumination is. Starting at this localized area, flow the light away from this area. Remember to avoid putting the lightest lights on the edge of the form. You need to preserve this "turning plane".

Draw at least three poses - more if you feel so inclined.