I spent some of my rushed art time refreshing my motive on this Indiana Jones drawing and getting clear on what direction I want to take it.
My third session on this drawing a did a very in-depth post about what I wanted to communicate but over the few days that passed, with all the stuff I have going on, I must have gotten sidetracked.
Here is what I want to communicate:
While thinking about how to communicate these emotions through charcoal I came to a tentative conclusion that most of the emotions will be communicated through the face. Indiana’s expression can communicate the bulk of this and take up the slack for what charcoal by itself cannot.
But, the charcoal can support those emotions on Indiana’s face.
I feel that this moment is a sharp and jarring moment. Realization, awe, amazement, surprise, bewilderment and revelation are all acute reactions to a grand stimulus. So the charcoal can support this by being sharp, high contrast and energetic. Plus I can compose the picture so that most lines lead to the face, the center of all the emotion.
I think I want to get into the habit of refreshing my motive for each peace that I do often. It’s like a plane that is flying from Seattle to New York. The pilot knows where he needs to go and along the way he makes many small course corrections to keep on track to the destination.
Previous Indiana Jones Drawing Posts
- Too Close to a Copy
- Preventing Monotony
- A Morning Full of Art
- Communicating Complex Emotion in a Drawing
- Indiana Jones Drawing Started
- The Last Crusade and Alleyways
Figure Drawing for Artists Exercises
Today’s exercise from Steve Huston’s book is awesome and is very similar to the memory drawing in The Natural Way to Draw. In the exercise I look at three drawings from masters, Antonine Watteau, Francous Boucher and Nikolai Fechin.
The exercise it too look at these figures and how the major structures of their body lean, tilt and face then draw as though from a different angle with different lean, tilt or face.
Steven Huston describes with elegant simplicity the importance of knowing what lean, tilt and face actually is and how it essentially the backbone of perspective in figure drawing. On the drawing today I refresh my memory of the three aspects of perspective.
Daily Composition and Object Sketch
For the object I drew the water dish that sits in our office / studio for the cats. Then I pulled from my memory a troop of kids crossing our path after our walk to the part yesterday. It seems the kids were doing some kind of scavenger hunt with their teacher or something.
I’m getting better at using my memory for the figure, but super slowly. Consistency is the key here.
What went well?
Lots done at work and I got some deep artwork done today. Maybe not a lot down on paper but a lot of deep thought with refreshing my motive.
What needs work?
Continued study on the figure and trying to draw every part of the body from every angle.
What did I learn and/or how can I do better?
Constant refreshing of my motive is key for keeping a piece and track to the original idea.