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| ....with Artist Alan Tulloch |
| TRANSFIGART |
| ....with Artist Alan Tulloch |
| An Online Connection for "Excellence in Art" -ARTofficial Figure Drawing Workshop |
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| Tutorial 1 - Unsocking the figure Introduction Many would have encountered the 'blind countour' drawing through different types of drawing classes or exercises. The figure is captured by a continuous line that mimics the movement of the eye as it travels along lines of the figure without looking at the paper to check for mistakes. It is a great way to develop a sensitvity to line; alerting the student to the direction of lines and for sorting out some difficulty in a pose. It can create some crazy mis-shaping of the actual model - although disciplined concentration combined with constant pencil speed can form reasonably expressive drawings. Some of these blind contour drawings can make it look as though the figure is 'caught in a sock' with the internal form trying to push out in semi-descript ways. In a way, every figure is caught in a sock of skin and that skin can be a distractive mask over the real structure of the figure. The so-thought-of outlines for a figure are rarely continuous. The blind contour drawing has good values but this technique should not be allowed to 'talk up' an idea that the outline is continuous. Some 'edge' lines are at the front and other lines are at the back of an edge. |
| Blind Contour Drawing 2004 - Alan Tulloch, Charcoal on Paper |
| "Brace" 1988 - Alan Tulloch,Graphite on Paper (240 x 180mm) |
| Approach Set in your mind the idea that the figure does not have to 'come into existence' on the paper through outlines. Sometimes these 'outlines' can 'weigh' the figure down (or put form in a 'sock'') and can sidestep the real life of a pose. A figure's pose can be suggested by .......... invented lines structure lines shorthand lines lines that are a bit 'glib' - a quick jab at a line that says 'sort of like this'. Step 1 Have someone pose for you in a semi-dynamic stance (your 'model' can be clothed but bulky clothing can 'disguise' body structure.. Step 2 Suggest the 'structure' of the pose by drawing some inner directional lines. This is a bit like a stick figure but there is no rule to join the lines up. Be sensitive to putting a bit of a curve into some of these lines as a subtle way to suggest form (see if you can find such a curved line in the drawing below). |
| Step 3 See if your structure drawing is good enough to 'stand on its own two feet'. Love it and leave it if it has captured the essence of the pose. Step 4 If you see a need to build some 'more figure' onto this structure drawing you should continue to be loose in your commitment to lines. Step 5 Think of what the 'critical' 'boundary' lines are in the pose. (I refer to "Brace" opposite to illustrate the meaning of what I say.) You may need to put a 'cap line' on top of the head, at the right buttock, the big toes, the shoulder and neck 'separation' etc. You be the judge - make it a qualitative thing (not too quantitative, putting in too many details). Step 6 Don't be afraid to invent lines. The line across the top of the hip would never be as straight as I have made it - it is a glib signifier that says 'there is something hard under here - the surface is not continuous'. I will sometimes put a full circle within a shoulder to 'say' - roundness is here - but this circle will not necessarily be an outline. |
| Step 7 Vary the darkness of line to suggest importance, less-importance, non-importance. Note the lightness of the line of the back, lack of face lines and top of left big toe. Do not draw front and back lines for fingers and toes - too many finger lines will make the human hand into a hand of bananas. Step 8 Look for bone lines or creases of the skin that are mainly showing up because of 'tensions' in the pose. Mark the position and curve that may be in these lines. Work to a time limit - 10-15min - this will help to stop yourself from putting in too many lines. Rounding Off Repeat the procedure with different poses. Look for shorthand ways to suggest something but beware of cliche marks. Do a lot of 'blind contour' drawings as well - they are good 'first grade' teachers. Email me images of your results so as to get feedback. Note: This method is not to make students work 'my style' - it is just another approach that may be useful. |
| This website deals exclusively with the study of drawing the human figure as an aesthetic, social and anthropolocical phenomenon. If the depiction of human nakedness offends, please do not proceed past this page. |