Landscape - Modern Architecture

This is a 45 minute study  of a modern interior using grey copic markers. The main focus of this study was the subtle differences in light and shade across the light walls and in the reflection of the large windows. There is a strong sense of line within the image comes from the perspective across the page from left to right in the background, or from the mid-ground pillars and along the curve of the ceiling. The vantage point was carefully chosen to ensure two walls of the room were visible and there was an interesting reflection in the window to create an interesting composition. The rule of thirds is also used with the left pillar and the shadow of the right pillar fitting within this to create a more harmonious composition.

By laying the a lighter copic marker over itself several times over a 45 minute period, there are a range of subtleties created in the shading that effectively show the reflection of the wall and pillars in the glass, and also the building behind this. The high contrast on the side of the pillars closest to the viewer and direction of the shadow under the ceiling against the rest of the room show a consistent light source.

Figure Drawing - Non-human Anatomy

These are a collection of quick animal studies drawn using a 6B graphite pencil. The bear studies in particular show speed through the roughness of the line to create block shapes in different tones to quickly get the form of the animal on the paper in as few lines as possible to mimic practise of drawing alive animals.This technique also helps to emulate the animals fur, so works well with animals where it would not work as well with human figures; this also adds to the distinction between animal and human figures,  as the study of the grizzly bear in particular shows it standing in a very human stance but it clearly identifiable as the correct species through the quick markings. 

With the panda and lynx studies, I focused on the animal's spines and how 4 legged animals differ from the human skeletal structure. The shape of the both spines are mostly accurate, the spine of the lynx should be elongated more as at the moment the body is quite squashed and the tail doesn't follow on from the spine as perfectly as it should. As with the human figure studies, the lynx shows weight and balance through the positioning and tension of the front and back legs and paws, and also the hunched shoulder blades, accentuating the aggressiveness of the cat. The aggression of the animal should also be visible through baring it's teeth, however taxidermy animals all seem to be too happy to accurately portray aggression as they would if still alive.

With the study of the lynx and the top panda, a different work process was followed, starting off with the general shapes of the animals  working from the head and down the body, this technique took a lot longer than the other and would not work so well with living (awake) animals but produced good results on ones that don't move. Loose tonal values were also later added to the lynx to add a greater sense of depth by showing less details on the paws further away from the viewer and add the impression of fur.

Figure Drawing 2 - Balance and Weight

These are three quick studies of the male figure sitting in a range of different  static poses rendered using a 4D graphite pencil. 

All three studies are proportionally accurate and the use of tone on the figures  body gives a greater sense of form and depth.

This first image shows the weight of the model where there is contact between his body and the floor, such as his posterior and feet. The use of shadows helps to give the impression that these areas are in contact with the floor and not floating above it. Balance is also evident as you can tell from the curve of his spine and the tension in his arms and shoulders that he is hunched forward and holding onto his leg to stay in  a closed form, contrasting with the second leg that is laid out in a relaxed manner and foreshortened to bring depth to the image.

The second study shows the weight pushing down on the figures arms through the tense posture of his arm. This would be more evidence from a different vantage point that also showed the hands as these are what he he leaning on. The shadow under the front leg perhaps needs to be a little darker to show that the leg is not resting on the ground fully as the thigh is twisted to suggest he was partially knelt with his body pressure pressing down on the front knee.

 

This image is the most successful in terms of shading; the range of values give the image a lot of form and bring depth to the image. The relaxed showers show that he is no longer tensed up as in the first two poses, however there is still evidence of weight through the entire lower half of his body as there are a lot of contact points with the floor, keeping him balanced. 

Figure Drawing 1 - Anatomy

This is a 10 minute anatomy study drawn using an 8B graphite stick. The study follows the rules of ideal proportion; there are 8 head units in the body height, and just over 2 head units in the width. These measurements are considered normal for an adult male. However, the measurements on the models right arm are off; the posterior side of the humerus is slightly elongated, making the elbow joint start too far down in relative proportion to the rest of the right side of his body which is twisting away from the viewer, and making the whole arm look too long.

Tone is used loosely to imply form and stop the study from being flat by hinting at muscle structure beneath the skin. The shading on the models right leg helps to show that it's further back than his left leg, which is pushed forward, and helps makes sense of the perspective that makes one leg seem longer than the other. The shading in the background also helps to enforce the form of the model by providing a rough background, and pushing the model forward on the page to stop it being flat.