Figure Drawing…


I started drawing again–it’s been a while; and working with it is still self-gratifying, especially with the challenges learning how to figure draw. Working with shapes helps, if you can finally figure out how to coordinate the linear aspects of them. Even if you’re not an architect. Architecture obviously works in figure drawing, probably just about in any need with drawing. When I first took a painting class, we were asked to draw–and the repeated references to learning how to draw continue with people referencing learning it beforehand. Drawing does help, and so does the reasoning behind understanding why certain imprinted pencils are needed for certain steps. I revisited The Art of Drawing:The Complete Course by Guzman and Martin that I wrote about a while back–and it helps the resurfacing of it for developing style and technique, where you want style to go. Not fearing shapes is a plus, even though I still do. So working more seriously with the first of “in-hope” figure drawings is a shape taking shape. Once the roundness of the shape for figure takes places, figure drawing isn’t that difficult–just the time and patience can be in working and reworking it. Of course, values–the thought of negative space, and applying it–configures into the composition of the figure; but re-working angles, no matter the linear, you can see the figure’s development, that of being human-like, and then you can start seeing where you want it to go. This sounds too simple, as drawing can be a challenge and a fear. It was for me and some times continues to be, but, insofar, I’m happy with just being able to start with the figure. I’ve been working with some still life drawings, drawing with pastels and painting with after-underpainting. I haven’t been that interested in portrait drawings, probably because I don’t do well yet with facial features and the face. But the fear of drawing is more under control; it becomes easier–interestingly enough even after an absence from it. I think that drawing speaks for human behavior, in the sense that reading linear reads minds and human actions. Architecture is the portrait of human anatomy, physiology, and the capacity to voice what is rational and ill-rational. This uncanniness makes for wanting to understand human behavior and why people/characters do what they do, at least for me. So, onward in practicing drawing, utilizing the many ways of expressing either a character’s behavior, actions, and/or presence on canvas, etc. As always, a canvas, for me, is working with text—text as voice and expression.