A great deal of drawing is academic, but what finally gives it power is your reaction to the reality in front of you. This reaction is pure opinion relying on academic knowledge. Reacting means you don't have time to copy. You go after full concept and feeling. The more you learn how to draw, the clearer and more powerful your reactions to the figure will be.
It is time to have faith in your abilities. Put yourself out on the line, take the leap of faith, and fearlessly enjoy your experience with the model. Give the drawings some of your heart. With the closing of this half of the book, I want to share with you some drawings that express my exhilaration in drawing the model.
Shorter poses are a great way to force yourself into reacting.
"Exaggeration, the inseparable companion of greatness." Voltaire
My opinion here was. Wow, look at how immense his upper body is. His feet are so flat and thin. I enjoyed the fluid quality of his arm and thickness of his leg. These moments are all ideas that occurred in my initial reaction, ideas which I stuck to instead of getting caught up in copying the model.
Sloped head, extreme pose, ond thin legs ore just some of the reactions I had to the model in this pose.
The next three drawings are all the same model. Each drawing hos o different opinion. Here, pushing the abstract idea of shape helps us see the model on o new level. The simplicity of shape helps me develop my opinions.
A crazed, angry old man with o short neck ond long torso were thoughts thot occurred to me during this pose. On the right, o fellow artist is hard at work.
Here is another entirely different story. It was a godlike quality that I was after. The massive shoulders, large hands, and crazy hair make for an interesting statement. Notice the lack of under drawing. Each opinion about the model is expressed as I reach it.
Yes, there is the obvious, but I also shortened the upper body ond size of her head to push my ideas.
These last few drawings are our wrap-up for the first half of the book. They also introduce us to the next chapter. Look at the texture of line in these drawings and how it affects the story of each pose.
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