Friday, December 12, 2008
Since midterm I have noticed a dramatic change in my line variation. I think I have been more conscience of creating a range of line values, which in turn gives more depth and life to my drawings. I also think I have excelled in drawing correct proportions. This is especially seen in the third gesture drawing of the figure standing up and in the torso area of the first long poses drawing. Drawing the skull definitely challenged me with seeing the different planes. An area that shows planar differences is in the first skull drawing on the cheekbone. The angle and shading of that particular rectangle helps the skull to curve and give it a more depth. Learning to break down an object into different planes broadened my understanding of how to draw something in a three-dimensional manner. It is a skill that can definitely be applied to all areas of drawing. Overall I think this class has helped me become a better observer of elements such as proportion, scale, planes and line.
This class also has shown me how the position of the artist can completely affect the artist's work. It makes complete sense to stand an arms length away using the full extend of the arm, but is an easy thing to forget. Focusing on posture is an aspect I will definitely pull into my future teaching. Having correct posture is one of the first elements that needs to be addressed in doing art and something that was rarely if ever talked about in secondary schools.
Building the muscles on the manikin was a difficult yet rewarding aspect. It helped me to see the muscles, and also to form them so that I would have a greater understanding. When I would look at the muscles on my manikin I could then visualize and feel those muscles in my own body. All of these ways of interacting with muscles allowed me to have more confidence in seeing the muscles on the model and drawing them correctly on my paper.
Tuesday, December 9, 2008
Saturday, November 22, 2008
Life Drawing has been a great reminder to me of how much I enjoy drawing and the beauty of lines. A drawing that in a sense looks unfinished is the most beautiful to me because of the raw lines and active mark making. I am always amazed that when I walk around the room and look at others drawings of how a simple element such as line can look so different and unique for each person.
Monday, November 10, 2008
So I found myself in a debate with my advisor about the validity of life drawing. I am currently taking life drawing as part of my drawing concentration. Technically, one is suppose to take Drawing III twice to have a concentration in drawing, but in light of finding out about that bit of information too late, and wanting to take life drawing it all worked out to take life drawing and drawing III to fulfill my concentration. I was discussing this with my advisor and found myself in a debate over why life drawing would be beneficial to me as future art educator. In my program we are not required to take life drawing because it is something we would not teach in the schools. I found this reasoning shocking because that would void many other things I am learning here at Stout. This is especially unreasonable when every school has different funding and therefore can afford (or not afford) different classes. For example, the high school I attended was in a well funded area so I was able to take art metals, ceramics, graphic design, sculpture and all the "regular" art classes. Plus, in one of my drawing classes in high school we did do a form of life drawing, but with a clothed model. One of the students in the class would sit on the table while everyone gathered around and drew him or her for the class period. After informing my advisor this I was still shot down because "only a few schools have such extensive funding."
I proceed to say how I have learned so much more at this point in the semester in my life drawing class than I did in my drawing I and II classes. I am learning how doing art starts with the position and composure of the artists body. To have a drawing that is full of life, a person needs to place him or herself in a position that conveys life. Being in an uncomfortable position that does not use the full extend of a persons arm is not the way to portray life. It is also important to stand far enough a way from the paper to not only use the full extension of the arm, but to also have a clear line of vision of both the subject and the drawing.
I also emphasized my own desire to draw the human figure well for my future students. I know that art projects I did in High School incorporated drawing people. This is a skill I want to be able to not only do well, but know how to instruct my future students so they can also draw figures properly.
It may be a class focused on drawing the human figure, but I have been learning about proportion, line variation, utilizing the picture plane, proper posture, how to reflect, and how to really look and draw what is actually there.
After explaining and expressing my numerous reasons, our meeting time ended with the reconsideration of how life drawing can be valid for a future art educator.
Sunday, November 9, 2008
Looking back over my manikin I think the strongest set of muscles I have built are the group of spinal erectors. I think they are the most successful with proper layering and proportional size. The area that needs the most work are the lower leg muscles. This group of muscles need the most work because I have not been able to discuss these muscles with my group members. I have noticed that I am able to better understand the layering and placement of the muscles when I am able to converse with my group members. In the third picture (going left to right) I think the muscles are correct with the layering and position, but the proportion needs improvement. It is hard to tell looking at the book, and looking at sources online how thick each muscle is suppose to be. The second and forth pictures show a good view of the glutes and I believe I was able to build a nice shape!
I found looking at Marc’s blog attention grabbing because of all the cartooning he does of things happening in the world. It is fun to see how he draws well-known people and over exaggerates certain features of their face.
I enjoy blogging because it creates the opportunity to share what I am doing not only with fellow classmates, but my friends and family not here at Stout. I also enjoy the aspect that it causes me to take a step back and reflect on what I am doing and learning in my class. At the same time, reflecting is the hardest part about blogging. It is difficult to put into words everything that I am learning. It takes a lot of time, thought and consideration to articulate so much information.
My commenting on my fellow classmates has not been as frequent as it should. I find it difficult, like with blogging to develop sophisticated comments. It is a skill that takes a lot of practice, which I need to be more diligent in doing. I also struggle with responding to comments made about my own blog. It is harder to develop a response when few questions are asked, but I can always express my opinion to what they have stated.
If I could give one blog assignment to the class I would have it be about what inspires them as artists, and what made them decide to be an artist in the first place. It is always interesting to find out where people “got their start” and how they keep the dream going.
At this point of the semester I think my blog is doing very well. My images are a great quality with non-distracting backgrounds, good contrast, and vibrant color. My writing quality can always use improvement, but I have been doing an acceptable job of expressing my thoughts. I believe my writing is acceptable in a professional manner. It is well organized, to the point, but still visually appealing.
My comments to the other students could use a greater improvement with its quality. I am working on not be so general or vague with my comments, but striving to say something that would be beneficial to my peers. This is something I need to work on because I am going to be an art educator. By dedicating more time to helping my other group members with their artwork will help me perfect helping my future students with their artwork.
I like creating my own blog postings that are not assigned because I find it easier and more enjoyable to simply sit down and write. Something that I would like to post a blog about that I have not done yet is how life drawing will improve me as an artist overall and not just with my figure drawing skills.
Saturday, November 8, 2008
Gesture Drawings #1 and #2
Gesture Drawings #3 and #4
Gesture Drawings #5 and #6
One area I find myself to be strong with is including the whole figure on the picture plane. I can use the space effectively without exceeding the boarders. In gesture drawing #3 and #5 are both exceptional examples of using anatomical landmarks. In drawing #3, it is easy to see the pelvis landmarks of the pubic bone, and top of the iliatic crest. The rib cage is also laid out well because of the understanding of the hour glass shaped formed with the bottom of the ribs and the top of the pelvis. In drawing #5, it clearly shows the sacrum triangle and glute outlines to create an understandable gesture drawing.
In all of the drawings except for drawing #6 the long axis lines are dominate. I particularly favor drawing #1 because it has no outlines, and minimal long axis lines, but the models position is still able to be comprehended. Drawing #1 also has good line variation. The lines in the head of the figure show a range in value by having a dark line on the right and lighter lines on the left. Drawing #6 also has a great range of line value. The lines in the front are the darkest and gradually get lighter as the figure moves deeper into the picture plane. Gesture drawing #5 has the greatest line variation overall of sharp, soft, long, short, fast, slow, etc. The vast variety of lines gives this gesture drawing a good sense of life.
Drawing #4 show good exaggeration of the models pose. The long spinal axis has a great big curve which helps show the viewer that the model was bending over and bracing herself on her knees. Drawing #2 also has a exaggerated spinal column to show how the model is leaning to her side.
The focus for this 30 minute drawing was working on foreshortening. I choose this drawing as one of my better longer posed drawings because of the success I had with the foreshortening. I feel that I did an excellent job of showing the model going back in space and still giving her correct proportions. This first drawing I did to practice foreshortening was inaccurate with the angle of the torso. I had exaggerated it too much causing the model to looking like she was on a very steep slope. I was able to use my mistake from the first drawing and apply what I learned about angles to this drawing. Using negative space, and taking my time to really look at the model before drawing helped me draw a more realistic figure. From an anatomical perspective I think I was able to draw a rib cage that has breath. The line variation and the position of the head and neck helps to put life into the drawn figure.
I found this drawing to be strong because of the line variation of value and thickness. I did a successful job of portraying a realistic figure because of how the line value creates a sense of depth. This drawing struggles more with proportion, which is seen in the left arm. When I go back and look at this drawing I notice more now how the left arm seems much to short for the size of the body. The best area of the drawing anatomically would be the pelvic area. I think I did a good job with getting the angle of the hips and shape of the glutes.
I found this long drawing to be successful for many different reasons. One of the first reasons is the accurate proportion of the drawing. I did a successful job especially in the abdominal area of making sure the width of the area is consistent. I also excelled with anatomy. The position of the rib cage and the distance between the body of the rib cage and the top of the iliatic crest is realistic. I also was able to incorporate the abdominal and oblique muscles. I feel I was successful with having a variety of line weight all throughout my drawing, but could have made the depth perception stronger by being more deliberate with the line values. I still need to work on making the lines that lie deeper in space lighter than the lines that are closest to me. What I find most interesting about this piece is the abdominal area. I worked hard at giving the figure a sense of life and making sure everything was in correct proportion.
Tuesday, October 28, 2008
I decided to post two pictures that show how I am always learning. In the picture of just the torso, my first one was too straight and did not show an accurate depiction of the models position. After Amy pointed out my flaw I was able to go back and readjust. For the second drawing we were focusing on learning to foreshorten. This by the way is a tricky thing to learn because your eyes and brain are always in conflict. In the second drawing I had drawn the model on too much of a slope. Once again, Amy was able to show me where the model actually fell on the picture plane and I was able to correct what I had drawn (the correct drawing is in brown).
Always in class, and especially during these drawings I am thinking about one day being the teacher assisting the students. Its a little unnerving to think about because of the what I think were obvious mistakes I failed to see in my two drawings. But then again, I do need to remember I am still in the very beginning of this life drawing learning process and learning takes time. So if I take a step back and commit to memory these feelings and thoughts of being at the beginning of learning something new, that could really help me be a better teacher. I will be able to communicate and instruct more effectively to my students because I will know what they are thinking and feeling. I will be able to genuinely remind them that they are in a learning process and it doesn't happen instantly. One thing that always comforts me in drawing class is when Amy reminds us that this isn't easy and the skill won't come right away. It takes the pressure off during class because you aren't thinking about being the best, but doing your best.
Saturday, October 25, 2008
In class we did a 40-minute drawing of the skeleton. Once we felt we had the correct proportions of the bone structure we could move on and add the muscles we knew. I found that I moved through drawing the skeleton structure fairly quickly. I was not paying attention to the details, but focused more on getting the basic structure right. When I started adding the muscles it was easy to remember the form of the abdominals on the body, but the legs were more difficult. I found myself utilizing my manikin to recall the leg muscles we built. This allowed me to get the basic structure drawn on my paper, and then Amy was able to help me define the muscles.
I really enjoyed drawing from the skeleton because it was something new. It allowed us to build the body up from the inside out. It is possible to do this with a model, but I am a visual learner and I need information reinforced through visuals. Drawing from the skeleton will help me better understand everything going on under the skin.
I am starting to sketch out my ideas for my printmaking class. The assignment is we were given three different words and has to create a literal or abstract interpretation of the words. Right now I am approaching the project with both styles, I am showing literal visuals of the words but the composition is more abstract. I have both melancholic and twisted represented, but still need to incorporate consequence. I have some ideas, but want to hear your opinion first before I taint your mind/ideas with my own. Also I would like to hear your thoughts about the rest and what you would improve.
Friday, October 17, 2008
When our blog group was working on these three groups of muscles we were fairly quiet. Here and there we would have questions pertaining to the layering of muscles, the thickness and how far down on the femur they laid. The muscles we had the most issues with were the adductors and adding the hamstrings on top of them. There is so much layering going on in the leg that it is hard to keep it all straight, but it was nice to have three other people to discuss it with. We did not finish attaching all the muscles before the end of class, but I do feel more confident in what I need to do for the rest after having an entire class time to talk with my group.
The process of attaching the clay with these muscles was only slightly different than the rest. I would start out these muscles by rolling out a long "snake" of clay between my hands and then roll it flat with my roller. This made it easier to get a long piece of clay faster versus starting out with the roller on a big hunk of clay. After that the process was the same of cutting out a piece slightly bigger than the picture, attaching the muscle to the manikin and then sculpting it down to fit with my tools.
Thursday, October 16, 2008
Nothing is new- and even though that is true, when I thought about it, maybe it puts art in a new perspective. Yes as artists we can never really make anything new, but maybe in the end it is not about the final product. Maybe we are missing the bigger picture of art. Maybe in fact it is more for the artist than the viewer. The artist goes through a lot of investigating, researching and staying in touch with the world and from all this, artists learn. Artists grow and develop knowledge about things they may have never investigated if it wasn’t for that one little piece that intrigued them to go further and find out more.
I am experiencing this now in my printmaking class. For our next project, we drew three words out of an envelope. We are suppose to create a piece that represents those three words in some way, shape or form. My three words are melancholic, twisted and consequence. My investigation started out by looking up the definition of all three words using multiple dictionaries. I discovered excellent words such as dislocate, distort, misrepresent, wrenched and corrupted to assist in defining twisted. I thought I would know exactly what consequence’s definition would read, but found importance and relevance as one of the meanings. It is always exciting to look of definitions and discover something so many seem to miss. Words extend beyond much farther than we give them credit. They lead us on chases full of curiosity and wonder. The word melancholic opened up a “can of worms” of information I never knew before. I was under the impression melancholy was simply a state of being depressed, but learned how in medieval times it was considered a serious condition caused by black bile in the spleen. It is connected to a theory called Humorism, which believes that the body has four humors, or substances, that when they are in balance means a person is healthy. When one of the humors gets out of balance, the person’s personality can shift and they show certain characteristics. Black bile is one of the four substances and is believed to lead to melancholy. The information I found went on and on all because I had to look up one word for an art project.
In the end it doesn’t matter so much if my piece doesn’t look the best, or if someone will remember or recognize it because whether any of that happens or not, it cannot take away from the fact that I learned something.
The viewer actually has the harder job of stepping into the artist’s frame of mind and has to figure out what is going on.
“Everything is meaningless,” says the Teacher, “completely meaningless!” What do people get for all their hard work under the sun? Generations come and generations go, but the earth never changes. The sun rises and the sun sets, then hurries around to rise again. The wind blows south, and then turns north. Around and around it goes, blowing in circles. Rivers run into the sea, but the sea is never full. Then the water returns again to the rivers and flows out again to the sea. Everything is wearisome beyond description. No matter how much we see, we are never satisfied. No matter how much we hear, we are not content. History merely repeats itself. It has all been done before. Nothing under the sun is truly new. Sometimes people say, “Here is something new!” But actually it is old; nothing is ever truly new. We don’t remember what happened in the past, and in future generations, no one will remember what we are doing now
Wednesday, October 15, 2008
My process in building the glute muscles was very similar to how I built the other muscles. I would study the picture, role out a piece of clay, and then cut out the shape of the muscle bigger than what was shown so I could place it on the manikin and sculpt it to fit. Since we had time to build these muscles in class I would reference the muscle poster on the wall. This poster helped me see how muscles lay on the body and how they interact with one another.
When we were in our blog group we discussed the overlapping of the glutes and how they exist together. The glutes on our manikins did not all look exactly the same so to find out answer we did some more studying of the book pictures and refering to the poster in the room. After studying the photos we had to adjust some layering and the shape of the glutes but were only minimal.
We had some trouble with the tensor fasiace latate and gluteus mximus. The view of tensor fasciae latae and gluteus maximums (iliac head) confusing- shown on different legs in the book. This issue was easily solved by "thinking out loud" and remembering that our manikins only have a right leg!
We double checked the rest of the muscles on our manikins. We compared questionable spots and resolved it in the same manner as before.
Nate asked the question about how we add clay to manikin. We all concluded that we roll out a slab, close to size/ shape of piece- possibly larger so you can subtract from it. Add it to our manikin and sculpt away!
Friday, October 3, 2008
Axial- transverse processes of vertebrae L1 to L4, 12th rib.
Pelvic- posterior iliac crest and iliolumbar ligament.
Actions: extends and laterally flexes the lumbar spine, depresses and stabilizes the 12th rib.
Axial- outer surfaces of ribs 5 to 12, interdigitating with the Serratus anterior; linea alba.
Pelvic- iliac crest, inguinal ligament.
Actions: flexes the lumbar vertebrae, compresses the abdomen; opposite side rotator of the thoracic vertebrae.
Axial- External surfaces of cartilages of ribs 5 to 7, xiphoid process.
Pelvic- pubic symphysis and crest
Actions: flexes the lumbar vertebrae, helps to depress the ribs and compress the abdomen in forced expiration.
Cranial- spinous processes of vertebrae C2 to C4.
Caudal- Spinous processes of vertebrae C7 to T2.
Action: extends the cervical vertebrae.
Cranial- medical occipital bone between superior and inferior nuchal lines.
Cadual- spinous processes of vertebrae C7 to T1.
Action: Extends the cervical vertebrae and head; laterally flexes and rotates the head.
Cranial- Spinous processes of vertebrae T1 to T8
Caudal- spinous processes of berebrae T11 to L2.
Action: Extends the upper lumbar vertebrae and derotates the thoracic vertebrae.
Cranial- dorsal mastoid process
Caudal- transverse processes of vertebrae C4 to T5
Action: extends, laterally flexes the head and cervical vertebrae. Rotates the head to the opposite side.
Cranial- transverse processes of vertebrae C2 to C6
Caudal- transverse processes of vertebrae T1 to T5
Action: extends laterally flexes the cervical vertebrae
Cranial- transverse processes of vertebrae T1 to T12, ribs 3 to 12 proximal to costal angles
Caudal- transverse processes of vertebrae L1 to L5, the quadratus lumborum fascia and the lumbodorsal fascia
Action: extends and laterally flexes the lumbar vertebrae. Rotator of the thoracic vertebrae
Cranial- posterior tubercles of the transverse processes of vertebrae C4 - C6
Caudal- angles of ribs 3 to 6
Action: extends and laterally flexes the cervical vertebrae
Cranial- angles to ribs 1 to 6,
Caudal- ribs 7 to 12 medial to costal angles
Action: rotates thoracic vertebrae to the same side
Axial- angles of ribs 7 to 12, lubodorsal fascia
Pelvic- medial iliac crest
Action: extends and laterally flexes the lumbar vertebrae, same side rotator of the lower thoracic vertebrae
The process I used for building the muscles was looking at the photo and rolling out a piece of clay that is bigger than the muscle. I would use a clay knife to cut out a shape similar to the shape in the picture.
While I was building the muscles I learned how intricate the muscles are placed. I was surprised at how muscles interact with one another in the body. I didn’t realize all the wrapping and twisting muscles do around each other.
The frustrating part of the muscle building was figuring out the interaction between the muscles. To get beyond the frustration I had to study the pictures in the book and also look at outside sources (websites) that showed all the muscles on the skeleton at once. This was the biggest problem I had to solve when working with the clay.
Another problem I encountered was knowing how thick to build the muscles. I was able to solve this problem by again looking at the website sources showing all the muscles together. I was able to see all the layers need to fit and therefore could better distinguish how thick or thin to make the muscles. These frustrations helped me to learn the muscles in better detailed because I had to consult multiple sources.
The next clay assignment I plan to take more time shaping and placing the clay on the manikin. I also think it would benefit me to look at the function of the muscles more and try to feel that within my own body. This may help me place a visual with the feeling and understand the muscles better as a whole.
Tips I would share with my blog group members would be to look a long time before modeling and placing on the manikin. It is easy to look at something quick and think we know all the information to do the job. It helps to look at the book and where the muscles start, and stop and then to look at the manikin and find those spots before even touching the clay.
This understanding of muscles will greatly improve my drawing ability of the figure in class. Now that I know how the muscles are laying under the skin I can better see the curves and form of the model. It helps me to realize and remember that skin is thin and it is the muscles that create the plane differences on a figure.
Google Images Muscular System
10 minute drawing
I think I am getting a strong long axis line in my figure, but I rush into outlining (with longer posed drawings). I need to consciously force myself to take my time with studying the cross contours and not immediately marking my paper. I need to train my hand to do the motions and movement of making a line until I feel I have an exact cross contour. I put the cross contours in the majority of the time but need to be aware more of the angels and observe the model more before marking my paper. I feel that my outlines closed because they are dark and heavy. Even so, I do not think they have a flat coloring-book feel because there is slight variation throughout the figure, but like always could be improved to portray more life.
On this drawing I only drew in the basic form and minimal anatomical landmarks. I included the egg-like form for the rib cage and marked the top of the iliac crests. I also included the sacrum triangle, but going back and looking at my drawing I realized I drew it upside down! My anatomical landmarks are minimal because I need to refresh my memory with everything we have learned before I begin drawing.
I have noticed that I draw heavy and go over my lines again and again until I like them. Once I have drawn my lines and notice how heavy some can be, I remember to go back with my eraser and lighten the lines that are further away from me perspective wise. I also need to work on having variety in line characteristics. For the most part I draw the same width of line. I think I will be able to improve this not only with being more conscious of this when I draw, but also making sure I have a well-sharpened tool.
I can always improve the use of my picture plane/space of the page. When I dive into a drawing too fast I find myself running out of room because I tend to draw big. If I took the time to plan with light drawn cross contours, I think I would minimize my space problem. In this drawing the first thing I should have done was rotate my drawing pad horizontal to give me a better set up to fit the figure. I think the scale of my drawings compliment the size of the drawing pad because it takes up a good third, if not more of the page.
1 hour drawing
The long axes lines and cross contour lines are faint but noticeable in this drawing. I think they function well in showing the length and direction of each form. One part I think needs improvement with the cross contours is the figures right leg. To me it looks slightly awkward. My drawing is outlined but I think is more open than my ten-minute drawing because there is more variation in the line value. The drawing does take on a coloring-book type quality because the line thickness is too consistent.
In this drawing you are able to see the egg-like form, the tops of the iliac crest, and the sacrum triangle. It is difficult to include more anatomical landmarks because a lot of the ones we have learned are found on the front of the figure. I also included the spinal erector muscles, but I feel I am still learning where they lay on the back of the figure. I think I possibly could have the spinal erectors going too wide on the back of the rib cage.
The line quality in the drawing is more varied in value. I think there is a good variety of light to dark lines, but I think I could have more light, soft lines and a few less heavy dark lines. I think this drawing struggles with creating atmospheric perspective because I did not make the lines that are father away from me as light as they should be. For example the left arm supporting the models head should be lighter than depicted because of how far away it was from me.
I thought I did very well with the composition on this drawing. I was able to fit the entire figure on the picture plane and its size is appropriate with the size of the paper. My figure takes up about a third of the paper giving it enough room all around it.