I love the groceful flow that brings us up from the belly through the bock and shoulder into the left hand. The fleshy lines let us enjoy the model's muscularity. See how the small hard straight of the lower back is enough to give us strength between the ribcage, belly, and hips.
Look ot the wide variety of ideas expressed. Of course there is force, form, and shape, but beyond that, the variety of line pressure brings us closer to the reality of the model. See the hard point of the shoulder blade against the meaty thickness of the latissimus dorsi. See how specific you can get about a model without losing your sense of the pose's rhythm.
In looking at texture, feel the difference between the effort of the left ond right leg. The left is full of speed evoked by fast, long, aggressive curves. The right leg was drown with great pressure, in a machine-like manner. It stands more still and hard as strength for this moment.
As you can see from the previous drawings, the pressure of the line I created them with established the hardness or softness of the subject I was drawing. A simple example about the application of this reality that I mention in class is if you were to draw a brick and a rose, you should draw them with two notably different types of line. The brick would be drawn with a hard, angular line while the rose would have soft, delicate curves.
Let's talk about Michelangelo's Pieta'. What is so amazing about his sculpture is how marble is made to look like flesh, bone, and cloth. Yet of course, if you were to touch it, it would be cold and hard. Its shapes fool us into thinking otherwise. The long smooth curves invent flesh. If you were to accurately draw this sculpture, it would have to be with harder lines. When drawing a real human being, the shapes should be drawn with the amount of pressure on the pencil that most closely resembles the texture of what it is you are drawing. The bone being harder than muscle is one example. Look back to the drawing that describes the body's textures to apply this theory.
Drawing clothes is a great way to experience different textures through line. Let's take everything we learned in the first half of this book and move onto the second.
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