exercise one: the structure of the human body
In life classes I’ve been struggling with arms and shoulders and heads. Which sort of makes up most of the upper half of the body. And then there are the problems with feet and ankles.
Doing these studies I think will help – I get to test them out in a life class tomorrow. I have an idea of the width of shoulders by comparison to the head. I understand what is going on under the skin with clavicle, sternum and top of arm settling snugly in to the shoulder blade. I often lose width across the shoulders, so I need to think about the span of that clavicle.
I draw arms like understuffed sausages. Looking at the muscles – beautiful mounds layered under each other will definitely help. I’ve spent some time copying arms drawn by the masters. It’s interesting that they really seem to go to town on the curves of the arm muscles. And there other are certain features they all point out – the curve around the shoulder muscle, the dip of sternum and clavicle.
Having ago drawing myself in mirror – trying to draw ‘over’ the bones.
Drawing these reminded me how high the hip bones come at the back, they are lower in the front – the jutting out hip bone. There’s also a point on the lower hip that juts out – actually the top part of the thigh bone. As with the shoulder and arm, muscles are layered on top of each other – major ones over buttocks, front of thigh and back of calves.
Drawing my own legs and feet with mirror. I have peculiarly long toes and feel I need to asterisk that in case anyone points out an anatomical error.
Drawing my feet and doing a second version with just line, wondering how much can be said with line. I think it probably depends on the position of the feet. The best lines are under the big toe, ball of foot, arch. If these are obvious I think a line is easier to do. I’ve struggled with toes and fingers in life classes. Now I see that toes are really all about the shadow between one and the next.
Examining how the masters tackle bodies (looking mainly at shoulders). This was such an interesting thing to do. The easiest by far was Modigliani. Schiele was the weirdest. I felt I was just drawing abstract shapes, but of course the whole works. Blake was also interesting – he seemed to be really thinking anatomically – the planes of the body, the muscles mass.
Hands are definitely tricky. Things I learnt
- using own hands as model – the nearer they are to me the harder
- getting the angle of the nail right is important
- it helps to get the shape of the palm down first, then the angle of the fingers
- middle finger is as long as palm
- structure of thumb goes all the way to the wrist
Beginning to think about using something other than a pencil…here I did a really bad sketch with charcoal, rubbed it out furiously and finding the ghost of my hand left in the charcoal went in with a 9B to pick out just a few elements. The hand on the left is interesting (on the right I didn’t quite get the ghostliness) – a technique to be investigated!
I haven’t doodled with biro since those hours spent in boring meetings (in another lifetime) and really enjoyed the freedom they give.
Wasn’t sure about this to begin with. The left leg looks so much larger than the right, but when I went to check it was pretty much correct except that the right foot should be a tad longer and the right thigh a tiny bit wider. Maybe shadows on the ground would have helped explain the position better?
Using charcoal, red and black pencil. A self portrait so not a very interesting position, and tricky to keep arms still.
I’m very tall and that does come across, maybe from the extreme portrait shape of the sketch, but also the ranginess of legs coming forward, as if there isn’t quite enough room for them on the chair or within the frame.
- little toe – something has gone very wrong there
- forearm is way too short – I did try to fix this and consequently the hand?!
- the hand!
Funny how I only spot these things once I’ve uploaded the photograph to the blog.
Following on from above image, hoping to correct the arm but turns out it’s all in the crook of the wrist. Thinking about Diebenkorn and Alice Neel and using blank ink with paintbrush. I don’t have much patience (or is that time?) and am delighted in the way the quickest dab of diluted ink can create shadow.