In my post IMPOSING THE GRID, I mentioned the Renaissance invention of Drawing Engines, grids of wire or string used by artists to observe and analyze their subject in order to render them more accurately. This came into use around the same time as modern Linear Perspective, as pioneered by Brunelleschi.
In Dynamic Drawing one of the core ideas is the best way to learn to draw quickly with a fluid line and get greater control, is to spend time just practicing that! Pretty simple really. To facilitate that we have Live Dynamic Gesture Drawing, using moving rather than still subjects. The model repeats
If the marks we make are just random, we would not have art. Just a mess. Modeled drawings can be Gestures, made of Continuous Lines. It creates a very distinctive stylistic difference, if your drawings do or don’t use Contours. But Identifying each and learning them separately lets us be conscious of their individual traits; intentional about how we combine them; or if we choose to do so at all.
Anyone able to hold a tool and make marks can learn to draw, and make more skilled marks. But how you hold your tools does matter. Remember, continuous strokes, unending lines. Move steadily, as fast as you can comfortably. Don’t worry about end results, focus on the action of drawing.
Posted here are two pages here from The Natural Way To Draw by Kimon Nicolaides. I recommend it, it’s a complete study guide including exercises & assignments! I own a copy today as does the school, I suggest taking a look at it. Nicolaides laid the ground work for a lot of ideas people
Mike Mattesi has a fantastic take on capturing a dynamic line and form in his work and great notes to accompany his examples. The book is well worth owning! I’m just missing the middle child in his main trilogy myself. Force: Dynamic Life Drawing for Animators, and Force: Animal Drawing: Animal locomotion and design concepts for
You will never get better, unless you make mistakes. So this comes up often in my class, it’s a universal obstacle to learning, and improving rapidly. This often leads to a lot of cautious, stiff, even scratchy lines when we draw too. The hesitation, not trusting your hand to do the
Several of these tip sheets came from Lesson Nine: Cloths and Folds, “Famous Artists Cartoon Course“. And one of the examples here, is “Some Notes on Drapery” by FUNKYMONKEY1945 on deviantart. And a few of these are from creativespotlite.com’s Free Drawing and Sketching Lesson post here. Also looking around I found a nice set
This incredible mural by Diego Rivera is an amazing study in composition and narrative art. The fantastic online resources provided by the DIA, include this great virtual extensive video tour of the work! I’ve made a playlist of all the clips below for ease of consumption but the mapped version on their
In this weeks class we’re introducing the principles of perspective, with an emphasis on using perceived/impressionistic rather than optical/mathematical applications in our art. But i Also wanted to make a point about the value of the humble single point perspective technique, and how in many cases it’s very powerful by
Pattern & Rendering exercises. Your assignment is to gain a greater familiarity with patterns! Learn how each can be rendered, stylized, with a variety of drawing implements. I recommend you begin with pencil, crayon, brush, pen, even tablet if you plan to be using it. Do these digitally if that is
The chalk trails of Peter Han. A talented designer who teaches for CG Master Academy in New Westminster BC. He gives good demos containing many compatible ideas with our class’s approach to drawing. watch, think, try his methods. Many of these exercises are the same as those i’ll be teaching.
About line for tone & value, cross hatching, contours, and to follow surface or not. In the this post, I introduce basic feathering, hatching, cross hatching & basket weaves as part of your regular practice regime. We’re going to explore hear how you can use them. The idea using them to do
A lot of what makes our work is Design: Designing the picture plane = composition. Designing the form = how we use structure, surface, texture &, lighting! STRUCTURE. Remember this handout from the start of our classes? It shows the range of techniques for drawing the human body, from abstract gesture, to contour
Artists have been using mechanical aides since the beginning. Variations on the idea go all the way back to the Egyptian ‘canon of proportions’. Grinds are a classic way to break down the picture plane, compose space, alter and record it. Archaeologists use them too, in order to document the spatial relationships
The combination of musical rhythm and a moving subject that tends to move in predictable and interesting ways makes doing live studies of musicians an entertaining way to learn about body language and rhythm. Adam Cantor modeled for us, and returned with guests Russell Simco on the fiddle, and band mate Jonathan Furze on guitar.
In class 3 we talk about some basic compositional rules. The Rule of 3rds – the golden mean; Lead room; Geometry and symmetry; Rule of odds; & Simplification! And how those ideas and other lend contribute fundamental elements of what makes for dynamic art. To illustrate applications of the Rule of 3rds,
Doing formal studies and serial studies of both live subjects and other artists work is a core learning tool! The goal is to have fun while systematically refining our skills and broadening our visual vocabulary. Related: Exercises like pattern work and gesture studies. I’ll be adding new proposals for exercise constraints here over time. A