It's been our policy not to cancel scheduled Meetups unless something unavoidable occurs, such as the engine blowing out just before our boat trip with the Southstreet Seaport Museum last year.
2017 has started out as a great year for us, with bigger better studios than we had in the past and terrific attendance! Attendance was so good, in fact, that I was able to lower the cost of each session to the bare minimum and still cover expenses, and I got great feedback for keeping the price low.
But now that the summer is finally here (and it seem like it took forever!), attendance has dropped sharply and suddenly. I certainly don't blame anyone for wanting to enjoy the weather, but at our new lower price, it just makes it impossible for me to hold the session if only a few people show up (It takes about a dozen attendees to break even).
For now, I'm going to try to keep the prices low, but that means I'll have to cancel classes with very small attendance. (as always, if a class is cancelled, I'm happy to refund your payment).
Please RSVP as soon as possible for classes you'd like to attend (and if Paypal doesn't work for you, email me to let me know).
We have a lot of great things planned for the rest of the year! See you soon!
Showing posts with label figure. Show all posts
Showing posts with label figure. Show all posts
Saturday, June 24, 2017
Monday, April 10, 2017
The Science Behind Drawing the Figure Intuitively
When an artist is trying to learn to draw a figure in proportion and get the arms and the legs all the right size, it takes a certain amount of deliberate study, since there are all kinds of things working against him (for example, psychologically, we give more importance to heads and hands, so we tend to make them bigger; foreshortening in a lot of poses gives artists false cues about how limbs relate to each other). So there's a phase where a developing artist might spend a lot of time deliberately measuring out everything in the drawing to get it just right.
But all of that academic study may still not give the artist sufficient grasp of proportions so that they won't still be a stumbling block.
So I encourage artists to work a lot from FAST poses, usually 30 second poses, and to do a lot of them. Why? Because in 30 seconds, there's simply NO TIME to think about what you see and transfer that into something you're drawing on the page. Drawing fast COMPELS you to develop an intuitive understanding of the figure and it's parts as a single whole thing. With practice, it compacts that "conscious competence" into the subconscious part of the brain where it becomes a reliable, intuitive function. Not guessing.
Abraham Maslow identified this in his "Four Phases of Learning." To paraphrase, the first phase is not knowing anything ("unconscious incompetence") The second phase is knowing you have to learn ("conscious incompetence"). The third phase is learning and understanding, but only at a conscious, academic level ("conscious competence"). The fourth stage, which is where you've internalized the understanding to the point of intuitive understanding is called "unconscious competence."
Unconscious competence can be as exotic as an athlete pulling an impossible play to win a big game or as ordinary as pulling into a busy traffic lane while talking to the kids in the back seat. Unconscious competence is writing out words without thinking of how to spell them, etc.
But all of that academic study may still not give the artist sufficient grasp of proportions so that they won't still be a stumbling block.
So I encourage artists to work a lot from FAST poses, usually 30 second poses, and to do a lot of them. Why? Because in 30 seconds, there's simply NO TIME to think about what you see and transfer that into something you're drawing on the page. Drawing fast COMPELS you to develop an intuitive understanding of the figure and it's parts as a single whole thing. With practice, it compacts that "conscious competence" into the subconscious part of the brain where it becomes a reliable, intuitive function. Not guessing.
Unconscious competence can be as exotic as an athlete pulling an impossible play to win a big game or as ordinary as pulling into a busy traffic lane while talking to the kids in the back seat. Unconscious competence is writing out words without thinking of how to spell them, etc.
Friday, December 16, 2016
Hiring and Working With a Nude Art Model
 |
| "Artist and Model," by Angelo Morbelli (1909) |
There’s been plenty written for people interested in going
into the field of art modeling, but much less written for artists interested in
working with nude models. Working from a nude model is a traditional pillar of
western art, but it can be an awkward situation for the inexperienced artist. And
it can be a difficult experience for a model too. I have to say, I’ve heard
some horror story experiences from models, and I’m hoping this article will
serve to make the experience a more pleasant and fruitful one for everyone
concerned.
If you’ve never worked with a nude model in any capacity before,
it’s very worthwhile to spend some time at an established class or art school that
utilizes nude models, if you can. Besides getting comfortable with the
situation (and it’s perfectly normal to feel a bit awkward at first), you’ll be
able to see how people with experience organize and run such a situation, and
you may even be able ask for advice and get model referrals. If you are
starting somewhere where you have no access to such a class, I hope this
article will be of great help.
Professionalism
The media may portray the world of artists and models as something exotic and titillating, but the reality is that art modeling is a profession, like any other, and models should be treated in a mature, professional manner, and also be expected to behave in a professional manner. An art model’s skin is their working uniform, and it’s important to remember it as such.
The media may portray the world of artists and models as something exotic and titillating, but the reality is that art modeling is a profession, like any other, and models should be treated in a mature, professional manner, and also be expected to behave in a professional manner. An art model’s skin is their working uniform, and it’s important to remember it as such.
Unlike just about all other professions, though, an art model’s job is one in which they are
inherently apt to feel more vulnerable, both emotionally and physically, and
an artist/employer should keep that in mind. So be professional:
2. 1. Do not be overly familiar
2. 2. Do not make any physical contact
3. 3. Be respectful
4. 4. Be reasonable
5. 5. Pay properly, and respect the model’s legal rights
6. 6. Be aware of the time
7. 7. Don’t be a pushover
A simple rule of thumb
is that the more comfortable the model is, the better a job they will do, and
the better your art will turn out.
1.
Do Not
be Overly Familiar
Maintain a professional demeanor. Treat the model as you would want your boss to treat you in an ideal work environment. You know that nightmare that people have of finding themselves at work naked? Imagine if it were happening to you, you’d want your boss to carry on as usual, maybe pretend not to notice, and not to make you feel any more vulnerable than you already do. Be that boss—professional and friendly.
Maintain a professional demeanor. Treat the model as you would want your boss to treat you in an ideal work environment. You know that nightmare that people have of finding themselves at work naked? Imagine if it were happening to you, you’d want your boss to carry on as usual, maybe pretend not to notice, and not to make you feel any more vulnerable than you already do. Be that boss—professional and friendly.
If you happen to be an extrovert who oozes charisma and
magnetism in your everyday life, it would be wise to tone it down in the
studio, to avoid any risk of being misinterpreted.
People who know me may
know I’m the king of inappropriate comments, but when I’m working with models
in a classroom, I turn off that part of my personality. Not only can it make
the model uncomfortable, but it can make me seem less professional to everyone
else in the class.
Even if the model is a friend whom you know well, when
they’re holding a pose, they’re working. You probably wouldn’t want your
friends bugging you at work, either.
If you’re working with a model privately, overly informal
behavior can make them feel uncomfortable. And if you’re running a class, you
may also influence the students in the class to behave in an uncomfortable or
overly familiar way towards the model or each other.
2. Do Not Make Any
Physical Contact
This ought to be pretty obvious. If you work in a factory, you do not want the guy you’re working for touching you, even if you’re in overalls and a welder’s mask. It’s annoying and it can be considered harassment. So don’t touch the model. If you want them to pose in a particular way, use words to let them know. Gender doesn’t matter in this case—a female artist has no more right to touch a model of any gender than a male artist does.
This ought to be pretty obvious. If you work in a factory, you do not want the guy you’re working for touching you, even if you’re in overalls and a welder’s mask. It’s annoying and it can be considered harassment. So don’t touch the model. If you want them to pose in a particular way, use words to let them know. Gender doesn’t matter in this case—a female artist has no more right to touch a model of any gender than a male artist does.
If a model is doing a long pose (day or weeks long) the pose
is usually broken into 20-minute segments. During the breaks, it’s not uncommon
to outline the placement of the models feet on the floor with tape so they can
step back into the exact positions—but still, tape around the model, or better
yet, hand them the tape and let them do it themselves. Don’t touch them.
3. Be Respectful
Be the kind of boss you would want to have. Don’t be pushy, critical or unreasonable. Remember that you have hired the model to pose for you, and most models want to do a good job for you, so making their job harder or more stressful will only make it harder for you. If you want specific poses, clearly explain what you’d like, and most models will try to oblige to the best of their ability. But if they feel they are unable to hold certain poses, give them the opportunity to tell you so.
Be the kind of boss you would want to have. Don’t be pushy, critical or unreasonable. Remember that you have hired the model to pose for you, and most models want to do a good job for you, so making their job harder or more stressful will only make it harder for you. If you want specific poses, clearly explain what you’d like, and most models will try to oblige to the best of their ability. But if they feel they are unable to hold certain poses, give them the opportunity to tell you so.
If you have a problem with something about the model, bring
it up with them privately. Do not embarrass the model in front of the other
people. Every model I know seems to have horror stories about working for
artists or teachers who were just horrible people, who bullied or embarrassed them
in front of the entire class, and I’ve seen a few teachers seem to get a kind
of erotic thrill out of ordering the models around and making them unhappy. One
model I know was loudly criticized by a teacher about the color of her
fingernail polish. Another model I know was asked to bend backwards—and hold it
for four hours.
If you treat your models badly, they have no reason to come
back and work with you a second time. But much worse—you can get a bad
reputation, and since most models network with each other, a bad reputation is
one that will haunt you and make it much harder for you to hire other models in
the future. Conversely, if you have a reputation as someone models can trust
and feel comfortable around, they are much more likely to want to work with you,
and refer other models. And if you’re part of an institution, the model may
have recourse to complain to the management about you.
4. Be Reasonable
“Kick your leg up in the air… and hold it there for 20 minutes!”
If you want a specific pose, by all means give your models directions, but remember the models are only human. If a model feels comfortable with you, they may try to go the extra mile, sometimes even when they should know better. Don’t ask for things the model can’t comfortably do.
“Kick your leg up in the air… and hold it there for 20 minutes!”
If you want a specific pose, by all means give your models directions, but remember the models are only human. If a model feels comfortable with you, they may try to go the extra mile, sometimes even when they should know better. Don’t ask for things the model can’t comfortably do.
Also, be aware of comfort issues like room temperature. Not only is the model in an emotionally
vulnerable state, they are also physically more vulnerable to the conditions
around them. You may be comfortable while the model may be freezing (and
remember that very thin models and older models are much more sensitive to
cold). Be sure there is sufficient heat in cold weather. If it’s really cold,
offer them the option of posing in clothes or semi-draped. Always give the model
the option of breaking the pose early if it’s too much for them or they get a
cramp. I’ve known models who will pose through muscle cramps and fevers, and I
was in a class where a model passed out in the middle of a pose. There’s no
need for that.
The kind of poses a model can hold for one minute may not be
possible to hold for 5-minutes, and a 5-minute pose may not be possible to hold
for 15-minutes. An experienced model knows what they can and cannot do, and if
you give them the opportunity they can tell you so, which will avoid disappointment
for everybody.
If you’re working with an inexperienced model, it will be a
learning experience for both of you. If you have experience, your directions
can be quite useful for the model. If you’re new at it, too, the most important
thing is to keep your eye on the clock so that the poses and the breaks are
accurately timed, and communicated clearly.
Specifically regarding long poses, even if you have the world’s
greatest art model, I can guarantee you will observe some or all of the
following phenomena: Muscle relaxation—as
the model settles into a long pose their muscles will slowly relax. It’s more
obvious with well-defined models, but it happens to everyone. Blinking and eye-movement, fingers or toes moving, or torso turning gently—models
are only human, and holding still for long periods of time is unnatural to the
human body. Some people’s neurology will respond to the unnaturalness with
little motions. these aren’t really within the control of most models, and they
shouldn’t significantly affect your finished artwork, even if they disturb your
concentration a little bit. Breathing—Do
I really have to mention this? Apparently so. Some people complain about the
model’s breathing! As an artist, it’s better to learn to deal with these
eventualities than let them affect your concentration, and if you’re running a
class pass that learning along to the other artists there.
Also be aware that good models may have a lot of other
modeling jobs in the course of a single day, and you shouldn’t be so demanding
that they are too worn out, injured or sick to complete their other obligations
that day. Poses that can cause your models to cramp up or become sore, or
conditions that can leave them with chills or a cough should be avoided.
Imagine if you book a model and they have to cancel in the last minute because
the artist they posed for immediately before you left them so sore or sick they
can’t do anymore. Don’t be that guy.
5. Pay Properly,
Respect the Model’s Legal Rights
Set a price per hour or per session and stick to it. Be sure to make the rate clear to the model beforehand, and that they agree to it.
Set a price per hour or per session and stick to it. Be sure to make the rate clear to the model beforehand, and that they agree to it.
Also be aware that the rate for photography modeling is
higher than the rate for drawing and painting. There are different laws
involved in photography modeling and the models have different rights that have
to be respected. This means NO taking “reference photos” for paintings or
sculpture unless you’ve discussed and negotiated it with the model before you start.
Generally, when you do a drawing or painting of a person,
you have rights to that piece of art as your own creation. However, when you
take photographs, the model retains
rights to their own image, unless they legally release those rights to you
by way of a document called a model
release, which you should always use when photographing a model. You should
keep these release forms on file, because you’ll have to produce them if you
want to have your photos sold or published, or shown in galleries.
What rate should you pay a model? It varies considerably,
based on what part of the world you’re in, and what you’re asking the model to
do. The best way to find the going rate is to ask local schools or artists, but
remember there is always some variation, and some studios pay more than others,
like any other job. Also, each model has a rate they’re willing to work for.
Some may ask for more than whatever the “standard” rate is. It’s their
prerogative.
6. Be Aware of the Time
As artists, we always seem to need just one more minute to finish a drawing. But be aware that more experienced models know exactly how long they can hold a particular pose, and running overtime can result in aches and cramps and make later poses more difficult for them.
As artists, we always seem to need just one more minute to finish a drawing. But be aware that more experienced models know exactly how long they can hold a particular pose, and running overtime can result in aches and cramps and make later poses more difficult for them.
7. Don’t Be a
Pushover
So far I’ve touched on your responsibilities towards the model, but at the same time, the model has equal responsibilities to you. You have a right as an employer to expect the same kind of professionalism that you show the model. Most of the time, everything will move smoothly, but there are a few common difficulties that you might encounter.
So far I’ve touched on your responsibilities towards the model, but at the same time, the model has equal responsibilities to you. You have a right as an employer to expect the same kind of professionalism that you show the model. Most of the time, everything will move smoothly, but there are a few common difficulties that you might encounter.
1. Lateness
Personally, I don’t mind if someone’s a few minutes late. Travel can be unpredictable, and things happen. But if you are teaching a class scheduled for a specific time, you also have a responsibility to your attendees to start on time, and more than a few minutes of lateness can make the paying customers unhappy.
Personally, I don’t mind if someone’s a few minutes late. Travel can be unpredictable, and things happen. But if you are teaching a class scheduled for a specific time, you also have a responsibility to your attendees to start on time, and more than a few minutes of lateness can make the paying customers unhappy.
2. Last minute
cancellations
Stuff happens, maybe a model gets sick, and they have to cancel in the last minute. But this is usually a pretty rare occurrence. If a model has to cancel, they ought to give you enough advance warning that you have sufficient time to book a replacement. It’s not reasonable for a model to cancel an hour before a class, since it doesn’t give you any time to book a replacement.
Stuff happens, maybe a model gets sick, and they have to cancel in the last minute. But this is usually a pretty rare occurrence. If a model has to cancel, they ought to give you enough advance warning that you have sufficient time to book a replacement. It’s not reasonable for a model to cancel an hour before a class, since it doesn’t give you any time to book a replacement.
3. Unprofessionalism
Inappropriate behavior, poor hygiene, disrespect, compromised mental state (ie: being high or drunk) and even flirting, are much rarer situations, but they occasionally do arise. These can require a little more delicacy to deal with. For example, I’ve had a model who behaved inappropriately as a result of receiving bad news immediately before coming to work, in which case a few moments to compose herself before we started did the trick.
Inappropriate behavior, poor hygiene, disrespect, compromised mental state (ie: being high or drunk) and even flirting, are much rarer situations, but they occasionally do arise. These can require a little more delicacy to deal with. For example, I’ve had a model who behaved inappropriately as a result of receiving bad news immediately before coming to work, in which case a few moments to compose herself before we started did the trick.
Poor hygiene is pretty unusual for art models but it
sometimes happens. Usually, they’re already more self-conscious about it than
you are. The very few times it’s happened, I haven’t said anything, and it
hasn’t been repeated.
Compromised mental states may include being drunk or high,
but sometimes it can also be a result of illness or even prescribed medication.
Don’t judge too quickly, but do get to the bottom of it and discern whether it
is a problem you can work around and whether it may be a problem in the future.
Very occasionally, you might even have a model act
disrespectfully. Don’t assume any of the above problems are meant disrespectfully
by themselves, but if a model is clearly demonstrating they are unhappy with
the job, or you or the class, that they are testing you, or they just don’t
want to be there, it can create an uncomfortable work environment.
One summer I had a
lovely young blond model that all the members of my art group really enjoyed
drawing. At first she was excellent, offering us a variety of interesting
poses, and really inspiring the group. But she quickly caught onto how popular
she was with my attendees, and she started testing the boundaries by showing up
later and later each time I hired her, and becoming lazier and lazier in her
poses, to the point I had to give her direction for every single pose, or she’d
just lay on the floor in the same position all day. She really pushed my
boundaries too far. I stopped hiring her.
Flirting. Nudity is a two-edged sword. Just as a person
working nude is in an inherently more vulnerable state, their nudity can also
be more intimidating if they choose to act flirtatiously. It doesn’t matter if
they are flirting with the students, other models or you, and it doesn’t matter
whether the model is male or female. It may be perfectly innocent, but the
recipient may not feel that way, and in any case, it will make all the other
people in a class feel a little awkward. Should it happen with your model, be
aware that they might not be doing it consciously. But intentional or not, make
clear that the behavior they’re showing may compromise the work environment.
In all the above
cases, DON’T LOSE YOUR COOL. Don’t chastise the model in front of the
class, but call them aside, and discretely discuss it with them in whatever way
is appropriate, and strive for a win-win conclusion. Personally, I feel it’s better to smooth over ruffled
feathers and find a solution to make everyone happy, but also, when you lose
your cool, you also lose your authority, because it looks like you’ve lost your
control of the situation. That’s never desirable, especially if you’re running
a class. If the model continues to
behave unacceptably, don’t fight with them, just don’t hire them again.
In conclusion, I hope this has been a useful and practical
guide. In addition to running figure drawing groups for over 20 years, both in
schools and independently, teaching art, and producing art events and
draw-a-thons, I also have a few decades of experience in managing production
departments and projects for major advertising agencies. My experience is, 99%
of the time, when you treat your people with confidence and communication, and
work with them rather than over them, they will give you the best they have to
offer.
© Jeff Sauber
Thanks to Gerry McGann for catching the typos!
Thanks to Gerry McGann for catching the typos!
Monday, August 22, 2016
Change It Up!
Figure drawing is an endless process of observation and refinement. The more we draw, the more we look for detail, and the more we look, the more we find. At the same time, we're always improving our technique (at least in theory!). The more we draw and get comfortable with out preferred drawing materials, the more we develop confidence that is reflected in our finished drawings. And sometimes it works out just that way.
Nevertheless, there are other times we feel stuck, or we're not happy with something about our drawings. Sometimes we know what that something is, other times we're just, well, stuck. A common complaint people have about their own drawings is they don't like the line quality, or they feel like they're not adequately seeing the subject of their drawing. Still other times, we're drawing well, but we just lose our enthusiasm.
For me, the process of drawing is one of endless learning. I had a painting teacher who said "the purpose of painting is to learn something to take to your next paining." I don't know if that's the only purpose, but I get excited to find something I can learn from every drawing I do. Maybe it's some anatomical detail I never noticed before, maybe it's something about shading or about foreshortening, maybe it's the way the marks I'm making on the paper better define the image.
One of there best ways to get out of a slump, or to challenge your way of seeing, even your way of drawing, is to just change up your style or materials! In figure sketching alone, we can draw big, or draw small, we an use pens, pencils, crayons, brushes, watercolors, even oil paints. Typically, we settle on one way of working and try to perfect that, but you can find a lot of inspiration and perspective by simply trying to draw the same thing in a new way!
So next time you want a little more input, just change up your usual way of doing things, and see what you see.
Nevertheless, there are other times we feel stuck, or we're not happy with something about our drawings. Sometimes we know what that something is, other times we're just, well, stuck. A common complaint people have about their own drawings is they don't like the line quality, or they feel like they're not adequately seeing the subject of their drawing. Still other times, we're drawing well, but we just lose our enthusiasm.
For me, the process of drawing is one of endless learning. I had a painting teacher who said "the purpose of painting is to learn something to take to your next paining." I don't know if that's the only purpose, but I get excited to find something I can learn from every drawing I do. Maybe it's some anatomical detail I never noticed before, maybe it's something about shading or about foreshortening, maybe it's the way the marks I'm making on the paper better define the image.
One of there best ways to get out of a slump, or to challenge your way of seeing, even your way of drawing, is to just change up your style or materials! In figure sketching alone, we can draw big, or draw small, we an use pens, pencils, crayons, brushes, watercolors, even oil paints. Typically, we settle on one way of working and try to perfect that, but you can find a lot of inspiration and perspective by simply trying to draw the same thing in a new way!
So next time you want a little more input, just change up your usual way of doing things, and see what you see. Monday, March 7, 2016
What's New for 2016
We have a couple of new, fun offerings for 2016:
Single Pose Class We're now presenting a 2 hour long, single pose class. It's a great opportunity to really hunker down and develop your visual acuity and get a very detailed, finished drawing. One nude model in a single pose for two hours (with a break every 20 minutes). We're currently doing it twice a month on Thursdays.
Classes WITH Instruction If you'd like a little formal instruction (or a lot), these classes are great. We have a nude model, and each class begins with some very basic exercises, and tips to help you capture the figure on paper and maybe see a little differently. These classes are usually pretty small, so you can get plenty of individual attention.
Special Events We're planning them now for the warmer weather! I hate to give too many specifics before they're finalized, but most likely you can expect more art sails aboard the Schooner Pioneer, Some unusual art workshops, and some social gatherings. And we;ll continue to list third-party events around town that may be of interest to our meetup members, even the ones that we don't organize.
Old Favorites We're still doing Sunday afternoon sketching featuring a nude model in an academic figure sketching class with both short and long poses, and our ever-popular draw-a-thon Draw-mania! that combines a variety show with a drawing event.
To find out all about these events join our Meetup group http://www.meetup.com/FigureSketching-NYC
It's free to join and will keep you updated with all our fun events.
Is there some kind of art event that you'd like to see us offering? Let us know! If it's possibly of interest to our membership we'd like to know!
Wednesday, April 11, 2012
Draw-mania! Testimonials
Sure, I have great things to say about Draw-mania!, our monthly art-a-thon extravaganza, but what do the people who come to Draw-mania! think about it? Watch!
http://www.draw-mania.com
http://www.draw-mania.com
Tuesday, April 7, 2009
Looking at "lively" art
During our last session, we got to talking about what puts the "life" is a figure sketch. I mean, some drawings might be the loosest, roughest drawings, but they look like they want to leap off the page, and other drawings, though technically perfect, seem somehow flat.
I proposed the feeling of "life" in a drawing is what's often called the "gesture," which is a well defined vector, or line of motion. Take a look at the sports pictures in the back of the newspaper. Whether its football, basketball or baseball, even a horse race, if the picture has a dynamic quality, you can probably trace it back to a clearly defined line of action in the image.
Perhaps you’re seeing a football player slamming against an opponent, a basketball player springing for the hoop, or a baseball player twisting into the follow through of his swing, or that horse rocketing towards the finish, just a nose ahead of the competition. You could even take a pencil, if you wanted to, and go through the paper, drawing arrows where you see a line of action.
Short-poses of 30 seconds to 5 minutes are great for capturing the gesture. One of the pitfalls of longer drawings is that you can get too tied up in the details of each particular area of the drawing, and it comes out “overworked.” What that usually means is that different areas of the picture are directed in different directions, and that it what makes it “flat." If you start your sketch class out with short poses, it warms up your eye & you tend to see the figure in its entirety for the longer poses.
Some of the artists we discussed:
Be aware that the action doesn’t have to be dramatic or intense. Vermeer painted some of the “quietest” paintings ever, loving, placid, candid, moments caught like butterflies, but they are FULL of action. In the famous “Girl with the Pearl Earring,” you might see a simple portrait, but it’s not. It has a quality of life that’s captivating. What’s happening on that canvas? She’s not just posing for her year book, she’s turning to look—at you. The twist in her neck tells you she just noticed you, and the slight rise of her head signals recognition—she’s looking at you and she knows you (and I think she likes you, too).
And look at “The Lacemaker.” Or rather, look at what the lacemaker is looking at. You can see her total focus on her work. If you look at this painting for more than a few minutes, you may even hear the rustle of her clothes against the table, Maybe marvel that she’s so focused on her work that she hasn’t even noticed you watching her.
You may notice that in both examples, it’s the direction of the glance, and by extension, the head, that defines the line of motion. I won’t say much more about that, but do go ahead and experiment with it. Notice it in people around you or in pictures, and try it out in your drawings. (anyone with experience in Judo, Aikido or wrestling knows that the opponent’s body follows whatever direction his head moves, especially if you’re moving it for him).
One other thing worth thinking about, but maybe a little beyond the scope of this article, is that in a truly great image, the composition is arranged to highlight and work with the motion. It’s possible for the line of action to be overwhelmed by other elements in the picture. The masters, from Rembrandt to Weegee, were also master stage-designers, in that the entire canvas and everything in it was designed to highlight the action.
Take a look at the way Alphonse Mucha captures motion in his lines. Notice the way the lines he draws all compliment the motion of the figure—no lines ever cut across the direction of the motion, but rather, all flow with it. You might also be aware of the abstract, yet tombstone-like composition of most of his backgrounds, and how that highlights the dynamism of the figure. Mucha was one of the most famous artist of the Art Noveau period.
Hokusai, the Japanese artist, famous for, amongst other works, “100 views of Mt. Fuji” is equally famous for his “manga” which were printed collections of figure sketches, many of which have an amazing sense of both motion and humor. (for references, I particularly recommend Michner’s “The Hokusai Sketchbooks,” Tuttle, 1958)
His famous quote (taken from Wikipedia):
The next period, beginning in 1834, saw Hokusai working under the name "Gakyō Rōjin Manji" (The Old Man Mad About Art).In the postscript to this work (100 Views of Mt. Fuji), Hokusai writes:[1]
“ From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.
A useful but somewhat cryptical resource for sketching, from an Asian perspective, is the Chinese classic on drawing “The Mustard Seed Garden.” Through a series of illustrations, the book presents some very useful examples of proportion, composition and line-character. Obviously, it’s a very culturally-specific book, since it’s seen through the lens of Chinese art. It’s also important to be aware that a lot of the book requires much deeper explanation, or a lot of practice and personal exploration. Implicit in the illustrations are lessons about line quality and character.
For a more thorough and straightforward explanation of the Chinese approach, there’s a great series of four books written by I-Hsiung-Ju, one for each of the “four gentlemen” of Chinese painting (The Book of Bamboo, The Book of Orchid, The Book of Chrysanthemum The Book of Plum) published by the Art Farm of Virginia, 1988. Each of the “gentlemen” embodies a particular kind of line character, and a particular kind of aesthetic, and each gentleman teaches skills built on the skills of the previous. For example, the first gentleman, bamboo, teaches how to put develop strength in lines, and composition using straight lines, and how they break up the space. The second gentlemen, Orchid, uses long lines, like bamboo, but they are more fluid and graceful. This builds on the concepts and strength developed from the previous gentleman.
For a modern American approach, check out books by Burne Hogarth, Frank Frazetta, and George Bridgeman. These are easy to find, and fun to look at and learn from.
It’s definitely worth looking at drawings from all sorts of different artists. Don’t be shy about keeping postcards & Xeroxes on file, and definitely draw your own copies. That’s how the masters learned!
©Jeff Sauber 2009
http://nyfiguredrawing.blogspot.com/
I proposed the feeling of "life" in a drawing is what's often called the "gesture," which is a well defined vector, or line of motion. Take a look at the sports pictures in the back of the newspaper. Whether its football, basketball or baseball, even a horse race, if the picture has a dynamic quality, you can probably trace it back to a clearly defined line of action in the image.
Perhaps you’re seeing a football player slamming against an opponent, a basketball player springing for the hoop, or a baseball player twisting into the follow through of his swing, or that horse rocketing towards the finish, just a nose ahead of the competition. You could even take a pencil, if you wanted to, and go through the paper, drawing arrows where you see a line of action.
Short-poses of 30 seconds to 5 minutes are great for capturing the gesture. One of the pitfalls of longer drawings is that you can get too tied up in the details of each particular area of the drawing, and it comes out “overworked.” What that usually means is that different areas of the picture are directed in different directions, and that it what makes it “flat." If you start your sketch class out with short poses, it warms up your eye & you tend to see the figure in its entirety for the longer poses.
Some of the artists we discussed:
Be aware that the action doesn’t have to be dramatic or intense. Vermeer painted some of the “quietest” paintings ever, loving, placid, candid, moments caught like butterflies, but they are FULL of action. In the famous “Girl with the Pearl Earring,” you might see a simple portrait, but it’s not. It has a quality of life that’s captivating. What’s happening on that canvas? She’s not just posing for her year book, she’s turning to look—at you. The twist in her neck tells you she just noticed you, and the slight rise of her head signals recognition—she’s looking at you and she knows you (and I think she likes you, too).
And look at “The Lacemaker.” Or rather, look at what the lacemaker is looking at. You can see her total focus on her work. If you look at this painting for more than a few minutes, you may even hear the rustle of her clothes against the table, Maybe marvel that she’s so focused on her work that she hasn’t even noticed you watching her.
You may notice that in both examples, it’s the direction of the glance, and by extension, the head, that defines the line of motion. I won’t say much more about that, but do go ahead and experiment with it. Notice it in people around you or in pictures, and try it out in your drawings. (anyone with experience in Judo, Aikido or wrestling knows that the opponent’s body follows whatever direction his head moves, especially if you’re moving it for him).
One other thing worth thinking about, but maybe a little beyond the scope of this article, is that in a truly great image, the composition is arranged to highlight and work with the motion. It’s possible for the line of action to be overwhelmed by other elements in the picture. The masters, from Rembrandt to Weegee, were also master stage-designers, in that the entire canvas and everything in it was designed to highlight the action.
Take a look at the way Alphonse Mucha captures motion in his lines. Notice the way the lines he draws all compliment the motion of the figure—no lines ever cut across the direction of the motion, but rather, all flow with it. You might also be aware of the abstract, yet tombstone-like composition of most of his backgrounds, and how that highlights the dynamism of the figure. Mucha was one of the most famous artist of the Art Noveau period.
Hokusai, the Japanese artist, famous for, amongst other works, “100 views of Mt. Fuji” is equally famous for his “manga” which were printed collections of figure sketches, many of which have an amazing sense of both motion and humor. (for references, I particularly recommend Michner’s “The Hokusai Sketchbooks,” Tuttle, 1958)
His famous quote (taken from Wikipedia):
The next period, beginning in 1834, saw Hokusai working under the name "Gakyō Rōjin Manji" (The Old Man Mad About Art).In the postscript to this work (100 Views of Mt. Fuji), Hokusai writes:[1]
“ From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.
A useful but somewhat cryptical resource for sketching, from an Asian perspective, is the Chinese classic on drawing “The Mustard Seed Garden.” Through a series of illustrations, the book presents some very useful examples of proportion, composition and line-character. Obviously, it’s a very culturally-specific book, since it’s seen through the lens of Chinese art. It’s also important to be aware that a lot of the book requires much deeper explanation, or a lot of practice and personal exploration. Implicit in the illustrations are lessons about line quality and character.
For a more thorough and straightforward explanation of the Chinese approach, there’s a great series of four books written by I-Hsiung-Ju, one for each of the “four gentlemen” of Chinese painting (The Book of Bamboo, The Book of Orchid, The Book of Chrysanthemum The Book of Plum) published by the Art Farm of Virginia, 1988. Each of the “gentlemen” embodies a particular kind of line character, and a particular kind of aesthetic, and each gentleman teaches skills built on the skills of the previous. For example, the first gentleman, bamboo, teaches how to put develop strength in lines, and composition using straight lines, and how they break up the space. The second gentlemen, Orchid, uses long lines, like bamboo, but they are more fluid and graceful. This builds on the concepts and strength developed from the previous gentleman.
For a modern American approach, check out books by Burne Hogarth, Frank Frazetta, and George Bridgeman. These are easy to find, and fun to look at and learn from.
It’s definitely worth looking at drawings from all sorts of different artists. Don’t be shy about keeping postcards & Xeroxes on file, and definitely draw your own copies. That’s how the masters learned!
©Jeff Sauber 2009
http://nyfiguredrawing.blogspot.com/
Monday, March 2, 2009
What good is a 30 second pose?!
I occasionally help run sketch classes in a couple of schools around the city. I often end up with the dubious moniker of "30-second man." Despite what some of my ex-intimates may say, I earned that name because, when I run a class, I like to start out with ten 30-second poses. Now, most sketch classes will start out with one minute poses, so why cut that in half? As it stands, a one-minute pose is so fast...
When I was first introduced to 30-second poses, it took me a while to get to like them. I'd already been drawing nudes for a long time, years in fact, and never did anything shorter than a one-minute pose. It was in Nathan Cabot Hale's class at the Art Student's League in the 80s that I was first exposed to the 30-second pose. Hale, a relative of the famous ASL instructor Robert Beverly Hale, was a sculptor and an anatomist with a fierce demeanor and a good sense of humor. He felt 30 second poses were good for you, and since he knew his business, I thought I should give it a try. Besides, some of the other students would just sit out the short poses without even trying, and I didn't want to give up like that. I rarely refuse a challenge. I rapidly learned to love the 30-second because of how quickly my drawing improved. Why? Here's why:
--You just barely have enough time to capture the gesture, the movement & feeling of the pose. You can't get hung up on any of the details. This is more important than it seems at first. One of the problems a lot of people have is that their drawings seem stiff and woody. The drawing doesn't have the spark of life to it. It may even seem overworked. In 30 seconds, if you get much, it will mostly be that spark.
--You just have enough time to draw the whole figure. Which means you just have enough time to see the whole figure. Getting the parts of the figure all in proportion to each other can be a very difficult thing, and the trouble is that as we draw, our attention gets hung up in the details, as whatever part of the body we spend more time on can come out bigger on paper (usually the head or hands). You can even see this happen on drawings by some of the great artists, even Prud'hon.
--You begin to perceive the figure as a whole in your mind, and this lets you work more quickly.
--You begin to remember more with each glance.
--An inspired model can strike short poses that they could never hold for longer.
--After doing a few 30-second poses, the one minute pose seems like its five times as long, and you'll get so much more out of it.
Sounds like they're worth giving a try, now, right? After all, 10 poses in five minutes..it's a little investment with a big return!
When I was first introduced to 30-second poses, it took me a while to get to like them. I'd already been drawing nudes for a long time, years in fact, and never did anything shorter than a one-minute pose. It was in Nathan Cabot Hale's class at the Art Student's League in the 80s that I was first exposed to the 30-second pose. Hale, a relative of the famous ASL instructor Robert Beverly Hale, was a sculptor and an anatomist with a fierce demeanor and a good sense of humor. He felt 30 second poses were good for you, and since he knew his business, I thought I should give it a try. Besides, some of the other students would just sit out the short poses without even trying, and I didn't want to give up like that. I rarely refuse a challenge. I rapidly learned to love the 30-second because of how quickly my drawing improved. Why? Here's why:
--You just barely have enough time to capture the gesture, the movement & feeling of the pose. You can't get hung up on any of the details. This is more important than it seems at first. One of the problems a lot of people have is that their drawings seem stiff and woody. The drawing doesn't have the spark of life to it. It may even seem overworked. In 30 seconds, if you get much, it will mostly be that spark.
--You just have enough time to draw the whole figure. Which means you just have enough time to see the whole figure. Getting the parts of the figure all in proportion to each other can be a very difficult thing, and the trouble is that as we draw, our attention gets hung up in the details, as whatever part of the body we spend more time on can come out bigger on paper (usually the head or hands). You can even see this happen on drawings by some of the great artists, even Prud'hon.
--You begin to perceive the figure as a whole in your mind, and this lets you work more quickly.
--You begin to remember more with each glance.
--An inspired model can strike short poses that they could never hold for longer.
--After doing a few 30-second poses, the one minute pose seems like its five times as long, and you'll get so much more out of it.
Sounds like they're worth giving a try, now, right? After all, 10 poses in five minutes..it's a little investment with a big return!
Sunday, February 22, 2009
Welcome To NY Figure Drawing
Life drawing, ie., drawing the nude figure from a live model
Some of you may already know me! I've been running a life drawing group in the summers here in Manhattan, on and off, for something like ten years. A few years ago, I brought the group to Meetup.com. That helped reach a lot of new people, and it helped to streamline the process of scheduling the sessions. The meetup site interface isn't really a great place for interacting, however. there's a lot more I want to share, and a blog seemed like a better place to offer suggestions and to get feedback. I'm going to try to keep this site filled with new and useful content, including information on:
Materials and techniques
Beginner's suggestions
Info on my group and all the others in NYC that I know about
Info on running a sketch group
Info for models and artists
And of course a little blog-worthy pontification
Art (of course)
Is there something else that you would you like to see on this site? Let me know!
--Jeff
Some of you may already know me! I've been running a life drawing group in the summers here in Manhattan, on and off, for something like ten years. A few years ago, I brought the group to Meetup.com. That helped reach a lot of new people, and it helped to streamline the process of scheduling the sessions. The meetup site interface isn't really a great place for interacting, however. there's a lot more I want to share, and a blog seemed like a better place to offer suggestions and to get feedback. I'm going to try to keep this site filled with new and useful content, including information on:
Materials and techniques
Beginner's suggestions
Info on my group and all the others in NYC that I know about
Info on running a sketch group
Info for models and artists
And of course a little blog-worthy pontification
Art (of course)
Is there something else that you would you like to see on this site? Let me know!
--Jeff
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