Cours de dessin et peinture gratuits - Lettres en carton 3D | ateliermagique. Strategies to Get You There - NYTimes.com#more-70819#more-70819. Line by Line is about rediscovering the lost skill and singular pleasure of drawing. This is the eleventh in a series. In the last column, I demonstrated a way of looking at the figure and seeing the energy that moves from part to part. This makes it possible for us to draw the figure and express its liveliness and psychology, as well as to engage an effective route toward seeing proportion. Once we tune into these cooperative forces that animate the body, they seem obvious; yet opening up the kind of intuitive intelligence we need in order to see these forces is difficult when we are so used to relying mainly on the simple scanning operations of our eyes. As we draw, we need to record pressures and not just edges, and we need to see relationships between parts rather than just pieces of the body.
The first exercise in the video below uses patches of lines to describe the large forms of the pose and the pressures that move throughout the body. The Chain of Energy - NYTimes.com#more-69883#more-69883. Line by Line is about rediscovering the lost skill and singular pleasure of drawing. This is the tenth in a series. In the preceding columns I have introduced you to ways of seeing the particular structural logic of different kinds of subjects — the ellipses within round objects, the strength and/or flexibility built into manufactured objects like shoes or chairs, perspective as a key in seeing space relationships in complex scenes, growing patterns in subjects like flowers and trees, and the cubistic understructure of the human head.
Now we are ready to move on to considering how to see and draw the whole human figure. It is the most subtle, challenging and rewarding subject for us as artists. In order to observe the nuances of movement in musculature, we will study the nude body. The body, as we know, is a miraculous system of bones, muscles, blood and nerves, and it is possible to study it in purely anatomical terms. Plumbing the Head - NYTimes.com#more-66531#more-66531#more-66531. Line by Line is about rediscovering the lost skill and singular pleasure of drawing. This is the eighth in a series. The human head is potentially the most emotional subject an artist can choose. We spend our lives scanning other people’s faces to assess their relationship to us and our feelings towards them. Among the myriad expressions a face can produce we can see friendliness, attractiveness, intelligence, wariness, hostility or aggression, and we tend to credit this expressiveness mostly to the eyes and the mouth.
As artists, however, we can draw the head to reveal that its personality comes not just from the features but from the character of all its forms, and from how the eyes, the nose and the mouth are sculpturally embedded in the terrain of the whole head. To help us get past the idea of the face as a kind of flattish mask sitting in front of a vague bulbous form with ears, we need first to accentuate its spatial ins and outs in a diagrammatic drawing. James McMullan. Classical figure drawing and the contemporary realism of hedward. Painting Tutorials: Learn How to Become a Better Painter using O.