In this blog I will discuss developing gesture to prevent the figure from becoming static. “Draw what the body is doing, not just the body” (Force, Mattesi). Several techniques were prioritised to visualize the movement of the figure. Discovering the s and c curves, looking for rhythm, and determining the weight bearing leg, needed to be established as the foundation of the drawing.
I learnt to imagine the structure below without blocking in the initial proportions and visualize the gesture of the pose. “Feeling the flow and letting the rhythm drive the eye through the figure” (Drawing Demo, Vilppu). A balance of rhythmic curves assisted in the perceived movement, flowing from one mass to connecting another. “Curved lines are more forceful than straights since they clearly show us directional and applied forces.” (Force, Mattesi)
When drawing the figure it is important to feel the weight of the body and a sense of how the body moves. Directional force applies onto the next directional force. (Force, Mattesi) Compositionally I believe these drawing succeeded, using the rule of thirds and a triangular arrangement. However several issues have not been resolved. The leg resting on the lower leg does not depict the force or weight of the limb. If I were to exaggerate the movement of the figure that curves over the hipbone, this would emphasize the core force.
Drawing is presenting ideas through line. Gesture, rhythm, force, and mass were explored throughout this process. These ideas could continuously be approved upon through the balance of motivation, thought and practice.
In this blog I will discuss Life Drawing and the importance of anatomy research. I have previous training, however the priority of my thought process was challenged to accommodate gesture as a primary concern. To improve gesture drawing, knowledge of anatomy and practice of short drawing was required. In the 1-5 minute poses, there is limited time to correct mistakes, so instinctively being aware of anatomy and building muscle memory was vital. “We can know a prior of things only what we ourselves put into them”(The Blackwell companion to philosophy, Kant)
Researching anatomy was fundamental to improving in Life Drawing. It provided knowledge of the underlying structure of human form. I used several references Including Michael Hampton, George Bridgman and Uldis Kondrat to examine the human form. Uldis Kondrat’s book focuses on the structure of the form. I explored the planes of individual muscle masses and cross sections to discover what constructs the structure of the human body.
Bridgman discusses the anatomy to create human forms without compromising on the core mass. “Masses of the head, chest and Pelvis are unchanging” (Bridgman’s complete guide to drawing from life, Bridgeman). In the above drawing, I blocked out form using marks to find the proportions of the body. At this stage my knowledge of anatomy was minimal, and I did not recognize the core masses. If I were to recreate this drawing, I would describe the muscles wrapping around the core masses.
Drawing is a conceptual idea, abstracting from the subject to depict a method of note taking for the artist, and visually communicating the ideas to its audience.
During this 3 part blog, I will discuss my philosophy on drawing and its practice. Referring to artists that have influenced my journey as well as critiquing my work based on what I have learnt.
My endeavor is to interpret three-dimensional form and space through the visual medium of drawing. It is the ability to translate the subject and simplify through line and tone, simulating the world around us. Drawing is created through the balance of motivation, thought and practice.
In this blog I will discuss the exercise of creating texture and tone with pen. My objective was to create texture and a range of values. An excerpt “Creating Textures in Pen and Ink with Watercolour” (Nice) was used as a reference. Using the techniques of cross-hatching, stippling and scribble to mimic individual textures, suitable to the subject.
The texture was resolved by using a combination of techniques, which also created visual interest. The direction of the marks and quantity was also considered, ensuring the volume was not compromised. To expand on this idea, the contour of the form followed the direction or turn of the plane. In addition to, rendering marks to correspond to the tonal gradation of light and shadows.
The purpose of tone is to visually depict objects on a two dimensional surface, and reinforce three dimensions. It suggests the core shadow, direct light, reflective light, and cast shadow. (How to Draw The Figure With Line and Tone, Gnass) In hindsight I would not have formed the linear silhouette but allowed the tone to suggest the edges of the subject. Our mind infers logic to object-related elements.
This theory can also be applied to an imagined light source, ensuring it stays consistent. “You cant light an object, unless you understand the volume of an object”. (How to Draw The Figure With Line and Tone, Gnass)
Claudia Nice, Creating Textures in Pen and Ink with Watercolour, 1995, North Light Books, Cincinnati, OH, (Excerpt on Pen & Ink techniques)
Genre helps us understand the relationship of film, by comparing and sorting the similarities and differences. “Genre may be defined as patterns, forms style structures which transcend individual films” (Attaman). In this Blog I will discuss Monster Horror and its influential genres and its evolution, including German Expressionism, Science Fiction and Kaijū.
Monster Horror is an ideological topic that deals with our most basic instincts of fear and survival. German Expressionism was a style of cinema that emphasized expression beginning before WW1. (Brief History of Horror) Nosferatu, 1922 was a film based on Bram Stokers Dracula. The immortal vampire incited created fear in its audiences killing numerous victims through exsanguination. The lurking shadows of Nosferatu were used as screen irony to create fear in its audiences.
King Kong 1933 was an influential film not only due to its monster but its advances in stop motion and various other film effects. “Film theorist have traditionally classified films like King Kong as belonging to horror, monster or science fiction…” (Mediating Nature) the defining factor that categorizes the various themes and tropes of monster horror is the fear it evokes. “A canoe full of natives from this island was blown out to sea. When the barque picked them up, there was only one alive.” (King Kong, Denham)
Godzilla, 1954 was a reaction to the suffering of a nuclear attack of WW2. The audience identifies with the theme, inventing a monster to depict the destruction brought upon its people. Kyohei Yamane-hakase: “It’s impossible! Godzilla absorbed massive amounts of atomic radiation and yet it still survived.” (Godzilla, Yamane-hakase) Throughout the film Tokyo was oppressed by violent and destructive attacks by Godzilla. The film was a success and influenced a number of sequels, hence inspiring its own genre Kaiji. “Kaijū is a Japanese word that literally translates to monster”. (Gutenberg)
“With Horror Films Falling out of fashion in the 50s, however the only solution was to rebaptize all these films according to the new science fiction fad” (Film/Genre, Attaman)
Genre is a class or category of artistic endeavor, therefore whatever label we assign, it can surpass it by its own properties. In The Creature from the Black Lagoon, 1954 fear is evoked by the appearance of gill mans web hand. It telegraphed a threat or warning, preparing the audience for the monsters emergence.
The films can transcend its initial label by prime common factors and themes. Monster Horror aims to create tension, terror and fright in its audiences. The existence of a supernatural monster, that creates fear, death and destruction and the protagonists journey of survival, identifies the borders of Monster Horror.
Film/Genre, Rick Altman, London 1999 BFI Publishing.
Mediating Nature, Nils Lindahl Elliot, 2006, Publisher: Routledge, UK