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  • #983972

    I was thinking about those doing art courses and learning how to draw the figure, and wondered “how do they start to teach it?” and the thought also came… we have lots of people coming here who are about to start, or have just started courses…. or have never been taught to draw the figure, how about starting a thread on approaches taken in art schools on the basics, how to begin drawing the figure, or approaches that shouldn’t have been taken, with input from those who have trained, or are studying such a course?
    Just a thought…probably nobody will read this without the butt icon!

    Mac

    #1025291
    rebelnva
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        Mac
        I read it with out the butt! :D
        I have just started myself and would enjoy seeing that topic.
        This is a great forum and have learned lots.
        Thanks to all
        Rebel

        #1025256

        Mac:

        Good thoughts you have.

        I very much would like to take a life class, but my work schedule won’t allow it at this time.

        I look forward to any comments others may have regarding your post.

        Thanks,

        Dave

        #1025276
        Rosic
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            Mac…
            I cannot thank you enough for starting this thread. I was actually gonna PM you to ask if you would do something like this because many of us never have (yet) had the chance to work from life… and what better person… you are a mentor to many of us here… when you speak we listen. This will be a great resource to compile the thoughts, techniques, and experiences of the artist here that do work from life… Plus this will be a perfect thread (deserves a sticky) for those of us who don’t or are beginning to bring our questions to.

            Can we start from the beginning…

            When you go to class…
            What do you bring?
            Does it matter where you sit?

            Many more questions to come from me later ;)

            Thanks Mac!

            "I'm traveling 33 1/3 RPM's in an IPOD world..."
            #1025241
            DanaT
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                Mac, thanks so much for bringing this topic up. I’ve been thinking along the same lines.

                I see two different topics here. How to set up your workspace and tools in a a life drawing class, and how to approach drawing the figure. Both areas are beneficial to explore and may each deserve their own article.

                The first may be simpler to start with. Here are some practices I’ve picked up along the way. Mac, you want to add to this from your experience?

                  [*]Get to class early to get a good spot close to the model.
                  [*]Stand at an easel if all possible so that the drawing plane is parallel to your viewing plane.
                  [*]In a single light source or spotlight situation, stand where you can observe the figure in 3 quarter lighting or form lighting – that is 3/4 of the body in light, and 1/4 in shade.
                  [*]Clamp the drawing paper to a drawing board first cushioning with a sheath of newsprint. The drawing board should be no less than 1/4 inch larger or no more than 1/2 inch larger than the paper.
                  [*]At first, place the height of the paper so that the middle of the figure is at eye level. After the work is more developed, move it so that what you’re working on is at eye level.
                  [*]For drawing tools, keep a good selection of sharp points and broad edges, hard and soft. A razor blade and a sandpaper block provides more control over the edge than a pencil sharpener.
                  [*]Use a kneaded rubber eraser and pull off small sections at a time to knead in the desired shape for erasing.
                  [*]Hold the eraser and extra drawing tools in your non dominant hand so that they’re easily accessible.
                  [*]Stand back from the easel several times to gauge the overall work. If the class is crowded and standing back is impossible, view the work through binoculars in reverse so that the work appears smaller.
                  [*]Binoculars can also be used if unable to get close to the model.
                  [*]Take a break during the breaks and leave the work. Then come back with fresh eyes when the pose starts again.

                I’ll have to give more thought on approaches to figure drawing. Will post on that later.

                Thanks again Mac!

                #1025263
                LAartist
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                    Dana, that binocular trick is awesome! I’d never heard that before.

                    These links might be helpful to those starting out:

                    Sight-Size measuring

                    Drawing people (Links to articles about quick poses, measuring, proportions, and more.)

                    #1025242
                    DanaT
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                        Thanks for the links, LAartist.

                        Hmm, I think people are overlooking the thread since it was made a sticky. Good idea Bernie, but I think I’ll unstick it until we get more participation.

                        #1025295
                        jjackm
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                            For those who have never taken figure drasing,figure drawing is taught like any other drawing. The class I took started us out doing contour drawing like any other basic drawing class. It goes from there to using different drawing implements, ie., charcoal, pastel, ink, etc. You do get some instruction in perspective and measuring and what the so called ideal body is. It always starts out with fast poses to warm up followed by longer poses. Basically, if you take any drawing class and do figures for every segment of the class instead of still lifes or paper bags, you will have taken a figure drawing class. I read where someone had said once and I’m sure I screwing up this quote, but first you draw what you see, then you draw what you know, then you know what you see. Take it from there.

                            #1025277
                            Rosic
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                                Hmm, I think people are overlooking the thread since it was made a sticky. Good idea Bernie, but I think I’ll unstick it until we get more participation.

                                Good idea!

                                "I'm traveling 33 1/3 RPM's in an IPOD world..."
                                #1025278
                                Rosic
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                                    Dana…
                                    Thanks for the list… things I would have never thought of plus the chances are slim that I would have been able to find this valuable info in a book. Knowledge from experience is such an awesome tool… This thread should be a great source for that very thing.

                                    LAa…
                                    Thanks for the links.

                                    "I'm traveling 33 1/3 RPM's in an IPOD world..."
                                    #1025307

                                    This is how I approach life drawing. There are many other ways, but this is mine.

                                    I’ll won’t get into the “composition” on the page or “proportions” at this point, as I feel if you can get everything else right, these should fall into place.

                                    Life drawing is mainly about RELATIONSHIPS – how pieces of visual information all fit together.

                                    -shapes (negative/positive)
                                    -angles
                                    -values
                                    -edges (line quality, if you use lines)

                                    Concentration and focus are critical.

                                    Drawing is a skill that must be learned, and once you get the hang of it, you have to constantly practice. It’s more of a mental discpline than a physical skill. You snooze, you lose!

                                    After explaining the different areas that will ultimately be covered (see above), I’d start off the first class (the full duration) with teaching how to see just angles and shapes (positive, negative, large and small), and the relationships between them (measuring), not worrying about values at this stage. Also, I wouldn’t bother with the really short poses either, just as much time as is needed. Simple stuff, I know, but the basics are what it’s all about.

                                    The way you choose to measure would be whatever works for you (measuring the shapes that you see, not the “things” like features or limbs) – using the pencil method or just comparing shapes/sizes/angles in your mind. That’s what I do. I also do quick scans around and through the body and link angles and shapes with imaginary lines (helps me out with overall composition too). I’ve done this since I was a child, connecting shapes in a room or wherever I was (I know, I need a check-up from the neck up :D).

                                    A great exercise that I was taught, guaranteed to drive artists crazy, was to study the model in one room and actually draw what you saw in another room – talk about really “seeing” and concentrating! At first, we would all forget what we saw when we got to our drawing boards. I find it’s best to start with the strongest/easiest/most obvious shapes first and work your way down to the smaller ones.

                                    So, basically, life drawing is simply taking what we see in our three-dimensional world and transferring it to our two-dimensional sketchpad – we must see the model (and background) as a flat arrangement of interlocking shapes, that together form a recognizable image. Simple, isn’t it?

                                    I’ll get into values and edges next – be prepared to squint a lot. :D

                                    #1025279
                                    Rosic
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                                        JoJJ…
                                        Thanks :clap:
                                        you should be a teacher. I look forward to more insights from you in this manner.
                                        B

                                        "I'm traveling 33 1/3 RPM's in an IPOD world..."
                                        #1025280
                                        Rosic
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                                            I am currently reading and studying from Anthony Ryder’s book…
                                            The Artist’s Complete Guide to Figure Drawing: A Contemporary Perspective on the Classical Tradition.

                                            Has anyone else read this book?
                                            If so what did you think of it?

                                            He uses a method of capturing the figure with a series of boxing-in lines starting with “the envelope” and then going more precise with a “Blocking In” similar to what Jim showed us above.

                                            Does anyone here use this method?
                                            What other methods are there?

                                            I have a million and one questions… come on you lifers… share with us rookies & wannabes. :D

                                            "I'm traveling 33 1/3 RPM's in an IPOD world..."
                                            #1025308

                                            I haven’t actually seen the book, but he does great work. I had a few images on my computer. These figures are a little on the tight side for my personal taste – the face is simply amazing!

                                            #1025309

                                            Another who I think does great work is Jacob Collins.

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