Saturday, September 20, 2008
Tuesday, May 27, 2008
Thus the only way to draw that imbues such natural order in drawing, is to follow structural order, which has its roots in structural dependency.
Even if the pencil does not follow that order, the brain has to go through such orderly thinking. That is the only way to ensure ACCURACY in one's drawing.
Thus the mastery of drawing involves a clear understanding of structure, that goes into 'structural clarity' (simplified definitions of structure that makes managing structural integrity feasible), and countless passing through of structural order, in thinking.
The final goal of the journey, is to arrive at a drawing that is NATURALLY SOUND.
Tuesday, April 22, 2008
The initiative behind them, however, are fundamental understandings of the truth.
Thus they can make very good pointers along the search for a good way to approach drawing in general.
Short-hands can be viewed as a double-edge blade. On one hand, they, being able to render certain things with much simpler strokes and structure, means they are the embodiment of certain essence of natural order. On the other hand, because they have often been simplified, looking at them for reference can involve the risk of memorizing flat impressions without further understanding of nature's true form.
Thursday, April 17, 2008
Wednesday, April 16, 2008
Tuesday, April 15, 2008
Friday, April 11, 2008
Wednesday, April 9, 2008
It also comes from correct knowledge of anatomy and structure of the human body.
With the developed eye, one can marvel at the succesful drawings and see mistakes of some drawings. It enables one to become inspired more easily by other artists' works.
The eye comes from more direct contact with what really exists in nature. In a sense, this is an example how 'foundation' built upon life drawings can help one further his imaginary drawings.
Monday, April 7, 2008
A mode of thinking can be, Alright... every hour he spents drawing, I'll spend two hours.
Following that logic, say if you spent on drawing only 1/2 of the time that guy spents, and say he reaches a hypothetical mark in one year, you would at least have made the same progress in two years right?
That would be the case if devoting time is all that counts in improving your drawing skills.
What counts more than the amount of time spent, is the correct sequence of steps taken along the way. Say if you are building a pyramid with blocks, it would be obvious to build the foundation first. Thus the lack of foundation is the main reason why sometimes time devoted doesn't seem to correspond with the results.
Finding the best way to learn is alot more important than the time and effort spent.
Sunday, April 6, 2008
First, the varied nature is simplified into shorthands and generalized forms. This is more evident with Disney characters and Japanese comics. So the form you have to internalize is simplified.
Second, you'll always know, if you've mastered the character's form, by the resemblance of your drawings to the original character. Verification of knowledge is made much easier under this mode of learning.
Third, this is the best part... you'll get to copy the character's different actions, poses, forshortened views, without having to hunt for them in nature.
If the character's a fairly well-constructed one, chances are that when you've mastered drawing the character from memory, you'll have learned something that can be applied to the construction of many other things.
Friday, April 4, 2008
Another thing to understand the drawing you are copying.
And yet another thing to be able to draw what you've copied from memory.
The same thing applies to observational drawings.
It is one thing to draw what's in front of you.
Another thing to understand what's in front of you when you are drawing.
And another thing to be able to apply the knowledge gained from the observational drawing to your imaginary drawings.
The last task is the hardest, and therefore makes it a good standard in terms of judging one's drawing skills.
Sunday, March 16, 2008
A reminder for myself, since I've been wasting much of my time spent alone.
Saturday, March 15, 2008
Friday, March 14, 2008
How "finished" a piece is can roughly be defined by how much information it contains. Thus we can almost say that in order to produce more finished pieces, one needs to expand his knowledge of information. If he goes beyond his ability of grasping certain information, and "invents" information to add to the piece, then the result can be called "over-finished."
Thursday, March 13, 2008
Tuesday, March 11, 2008
Thursday, March 6, 2008
Wednesday, March 5, 2008
Thursday, February 28, 2008
Wednesday, February 20, 2008
This is something I collected last year. After reading the pdf file of Walt Stanchfield's handouts on figure drawing, I found several parts that describe very similar ideas as those Stephen Gaffney teaches. So I copied and pasted these parts into one word file, and gave it to Stephen before I went on summer vacation. I remember that once Kat commented on how Stephen collects and brings things to class that proves him right, in a joking manner. I remembered that, because I do the same thing.
And here is a copy of the document, with newly added comments in brackets to show why I included each section.
(Reminds me of pairing)
I always advocate, and urge, and even plead for the termination of the practice of drawing one elbow without the other elbow to relate it to—or one knee without the other, or a hand or a foot or shoulder, etc. Observe people at play, at work or at rest--there is a constant relationship between the joints and appendages. They are either complementing, opposing or balancing each other. It is this relationship that creates the angles and tensions that are the tool of expressive gesture drawing.
(Below is similar to what Jim Mcmullin said, that you have to look at the subject as if he/she is your lover. Also reminds me of what Jim wrote, that, surprisingly, it is when you are most absorbed in the model, that most individuality would show up in your drawings- since its your truest perception and opinion unblocked by deliberate styles)
Here is another quote from “The Art Spirit” (I replaced the words portrait and painting with the word drawing.) “An interest in the subject; something you want to say definitely about the subject; this is the first condition of a drawing. The processes of drawing spring from this interest, this definite thing to be said. Completion does not depend on material representation. The work is done when that special thing has been said. The artist starts with an opinion (first impression), he organizes the materials (the elements I spoke of above), from which and with which he draws, to the expression of the opinion (first impression). The things have no longer their dead meaning but have become living parts of a coordination. To start with a deep impression, the best, the most interesting, the deepest you can have of the model; to preserve this vision throughout the work; to see nothing else; to admit of no digression from it.... every element in the picture will be constructive, constructive of an idea, expressive of an emotion. Every factor in the drawing will have beauty because in its place in the organization, it is doing its living part. It is only through a sense of the right relation of things that freedom can be obtained.”
Earlier I mentioned body syntax. That's a phrase worth coining. The non-grammatical meaning of syntax is: "Connected system or order; orderly arrangement." What is a pose or gesture but an orderly arrangement of body parts to display a mood, demeanor, attitude, mannerism, expression, emotion—whatever. That phrase "orderly arrangement" (body syntax), is worth ruminating over. An orderly arrangement of body parts. I love it. Even the sentence places arrangement before parts.
(Where the "high-focus" lies, Why it's important to make meaningful marks, Why overly-voluptuous lines or exaggerated anatomical forms should be cautioned.)
An orchestra conductor, in a discussion on conducting Mahler's 1st symphony, said he had to be careful not to have too many climaxes in the performance. It is a relatively long symphony, 55 minutes in length, and is full of delightful passages that could be featured each in their own right. But there needs be control over such a temptation so that the overall theme of each of the three movements shall prevail. Drawing is like that. We are the conductors who are tempted also to feature the many interesting passages on the model. Some passages—a wrinkle, a belt buckle, a hair do, are sensuous to the point where we want to render them into little masterpieces of nonessential detail. Usually, a drawing has but one theme, and that theme must be featured or the drawing disintegrates into a montage of unrelated climaxes. There is a story to be told in drawing, whether it is one drawing of a model or many drawings in a scene of animation. True, in both cases there are secondary actions and costuming that must be dealt with, but the story (theme) is all important, while all else must be kept in a subordinate role. Subordinate doesn't mean unimportant. Everything on the drawing is there to help stress the story. Every line drawn should help direct the eye to the theme.
(Building the body through parts, being present while drawing)
Back to walking. When I am walking, I am (just) walking. I feel the cool breeze or the soothing warmth of the sun; I hear whatever sounds pass into my consciousness; I feel my heels strike the ground as they make contact; I enjoy the sway of my body as it negotiates for balance and forward motion; I watch the scenery go by and am aware of the three-dimensional quality unfolding around me. These factors are all happening simultaneously yet can be enjoyed separately. The same goes for every activity of your daily living. It is possible to go through life (or sometimes just big chunks of it) in a sort of dream state wherein you don't really experience the things you do. And so it is possible to make a drawing (many drawings) without being wholly conscious of what you are drawing. To apply that philosophy to drawing, you simply have to realize: when you are drawing a beak, you are drawing a beak; when you are drawing a feathered head, you are drawing a feathered head. And that goes for any of the hundreds, or will it be thousands, of separate parts you will be called upon to draw. This may seem contrary to my usual preaching about not drawing details in the gesture class. It is a matter of sequence—first the rough gesture drawing, then the detail. The line used to lay in the pose or action (acting) can be all one kind of line, as long as it is flowing, expressive, flexible, searching, and basic. The line to "finalize" the drawing must describe the shape, texture, and malleability of each part. So when drawing a bird's beak, you should aspire to make the drawing say "beak." When you get to the feathered part of the bird, you shift gears or press the, "When I am drawing feathers, I am drawing feathers" button.
Saturday, February 16, 2008
Thursday, February 14, 2008
It's not unfair to say that I'm an ignorant person. By that I mean I lack much common sense. An example would be that I still don't really know how the delegates system works within the US election. So when I do get the time off, when my mind gets clear, I start to ask myself what I do not know, and how I would get to know them.
And I just found out that thesis isn't due until April 23rd. If that's true and indeed it's not due on April. 13, as stated on the guidelines, then I'll be left with a bit extra time. Time for me to drop into Gaffney's classes to draw, and ask myself what I do not know, and how I would get to know them.