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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.
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.
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.
Need some inspiration or ideas for your next watercolor pieces? Perhaps a few of the following tips will help! For example, painting directly onto an already wet surface will . . . read more I live in a part of the world where it is warm and sunny most of the year, so when I get the time I truck my paint gear outdoors and set up for some plein air painting.