pelvis

I found that finding the placement of the pelvis was more difficult than the rib cage. I was constantly going back and forth between tracing the figure and looking at a picture of a pelvis. I noticed that I always wanted to place it lower on the model than it actually was- what helped me to adjust is remember how the body indents below the ribs and not much further down is iliac crest. It also helped me to look at the legs when trying to figure out the angle and position of the pelvis. Even though its an elementary concept- its important to remember everything is connected and works together.




Peter Paul Rubens
Three Caryatids, after Primaticcio
red chalk, 269 x 253 mm




Michelangelo
Nude Study
1511
red chalk, 40 x 20.6 cm




Michelangelo
Study for Creation of Adam
1511
red chalk, 19.1 x 35.5 cm

rib cage

I found that tracing the rib cage was harder than I expected. The male models have larger muscles so it was harder to see exactly where the rib cage would be. I found that putting myself in the same position as the model helped me understand the orientation of all the parts of the rib cage. I did however have to look up pictures of the rib cage online because I was never completely certain of its structure. Even so, at the end of this exercise I feel as if I understand the rib cage structure better than at the beginning.




Michelangelo
Study for the Risen Christ
1512
black chalk, 36.8 x 31.8cm



Peter Paul Rubens
Study of a Male Figure, Seen from Behind
charcoal, heightened with white, 375 x 285mm



Michelangelo
Nude Study
1511
Red Chalk

growth

It was exciting to see the three drawings side by side from the class so far. I definitely see improvement from the first (on the bottom) to the most recent drawing (on the top). I think one of the most evident things that I have learned is proportion. The first drawing I did- the figure looks flat and lifeless. I think the lack of life is especially seen in the rib cage and abdomen area. The top drawing has more of a sense of breath because the rib cage has more room to breath. I also think I am learning to apply what I feel in my own body to what I draw on the paper. I am a visual learner so it really helped me today to lie on the floor, feel the bones myself and visualize the curve of the spine touching the floor. I can also see an improvement in my line variation. The bottom drawing is heavy with the think black lines and does not give it a sense of depth. The top drawing has more variation of light to dark and the back leg looks farther back because it is lighter. The middle drawing is hard to reference to because I started over during the 30 minutes- though I do think it shows a good progress of understanding proportion.

me as the artist

“…art reflects life, and when we meditate on life, we might see something in a new way- and that might awaken us to possibilities, problems, hope, doubt, salvation or sin.” –Jefferey Overstreet, Relevant

I feel as though I am just finding out who I want to be as an artist, and the direction I would like my artwork to go. As you can see in the three images posted, I enjoy working with color. It is the one element I think will be seen throughout all of my work as it molds and changes. The artwork I posted has elements I mention later that I would like to keep in my future artwork. Elements such as, color, simplified forms and a more minimalist approach. I do enjoy the "busyness" of these pieces, but I think in order to endorse reflection, I need to start subtracting until I feel I have reached the "bare essentials"

As I have matured as an artist I desire my artwork to have a deeper purpose. I desire to move into the direction of reflection. I want to create a unique duality that causes the viewer to reflect on self, yet at the same time approach my art with an attitude of humility. I don’t want the viewers reflection to stop with the self, I yearn for it to extend into reflecting about the world around them. I will keep artistic elements I have used in the past, however I want to strip away any distractions that may hinder reflection. I desire my future artwork to echo the work Donald Judd. Judd’s simplistic nature is bold yet subtle. His artwork stretches the viewers to think beyond what is seen before them and into a greater message. I plan to accomplish this in my own work by picking subject matters that stirs critical thinking. I will execute this with simplified forms to minimize distractions, and saturated colors to attract and awaken.

I aspire my artwork to not only call for something more out of myself, but my viewers as well. We as humans have so much potential. It would be disheartening to see it limited from the lack of genuine reflection.