Further Gestures

The gesture drawing goes on…. it is an excellent way to switch off after work.  Below are some more drawings using a couple of different databases and drawing media.  Unless otherwise stated, the drawings below were all timed (90 seconds each).  I set the programme so that the image was automatically replaced after this time and I couldn’t go back and fiddle!  The first ones, at least, are contour rather than gesture drawings but speedy contour drawings…

I began by looking at the posemaniacs website, which has computer-generated anatomical models seen from distorted perspectives – excellent practice but not easy!  Below are my first attempts using a blue fineliner – not successful.  



As this was at the end of the day, I decided to try something easier and went on to the Figure & Gesture Drawing (Tools for Self-Educating Artists) site.   



 The next three attempts were a bit more coherent as I became more warmed up, but they are not really gestures:








I continued with a red Inktense pencil.  I wondered if using a pencil would help free up initial inhibitions in marking the peer and getting “stuck in”.  I didn’t manage to fit in all of one drawing on the bottom of the page…




I then could not resist fiddling with a couple more drawings that I was not pleased with in order to introduce clarity through adding a tonal wash. Therefore, these each took a few minutes:




 Lastly , I used a black fineliner – one of my favourite drawing tools.  I fiddled with the standing man, top right of page. The other drawings were no more than 90 seconds and might have taken less 



For the last exercise, I took the same pose (from Quick poses)  and drew it over 4 time periods (20-30 seconds, 2 minutes, 5 minutes and 10 minutes).  The first gesture drawing was estimated retrospectively but, having decided to repeat the drawing, I timed the other three. 

What is interesting to me is that the most accurate drawings are the first gesture drawing and the final, more detailed drawing.  Neither of the shorter drawings, each taking either 2 or 5 minutes, caught the accuracy of the “first sight” of the initial gesture drawing and did not improve on it. This can be seen in the angle of the arm over the man’s head, as well as the position of his legs and supporting arm, and the lower angle of the trunk in relation to the ground.  I seemed to look more carefully when I had only a very short time to observe and record (high pressure but low expectation: I expected only to produce a very rough form representing the overall action), or when there was a longer and adequate time to work in more detail but without pressure. 





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