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Wednesday, October 29, 2008
Longest Poses
The problem here was the torso and abdominal region. I tend to add in about 6 inches to an extra foot of space between the chest and pelvis. Amy showed me where her view of the lines would go in the darker line on the pelvic crest area. It's difficult to see this large extension until the whole piece has been drawn and you step back to see. It did feel too long though.
This pose was one of my more successful drawings because I feel that I composed the model properly. I feel that the foreshortening of her right arm and abdomonial region was handled well.
This was about a half hour and focussed on foreshortening. I struggled with the area of the body that was invisible to my view yet I learned to work with lining different body parts up.
This was about an hour long pose. The muscles were very defined and tight so it made the drawing process easier.
Monday, October 27, 2008
Wednesday, October 15, 2008
Relationship
The previous photos are examples of my photography from the past year. I find so much beauty in nature and elements such as water and wind. The attention to detail and timing is key in capturing a moment that you see.
Photography and drawing have commonalities, yet the physical skill is totally opposite. Taking the energy and patience and putting it into a marking on paper is the challenge. Instead of looking for a scene, the scene is the still body. I find it ironic that the aspects that I focus on so much in my photography is what I feel that I lack in my drawing. Showing the beauty of realism and paying great attention to detail can improve my future drawings.
Building the Behind
By evaluating the model molding work with others, I have a better understanding of placement of clay, details, and process. There were a few places in the gluteus region that the layering was being questioned. Most of the muscles in our body to layer,twist and overlap. There was confusion of the two views of the tensor fasciae late and the gluteus maximus (illiac head). Because the instruction from the book could be interpreted differently in the two views, extra research into the placement was needed to decide how everything really flowed together. I learned more about the process for others. The best method seems to be to study the picture and roll out a piece of clay a little larger in the shape. After attaching the piece in the correct spots, subtraction of the excess can add detail and allow molding.
Monday, October 6, 2008
Reflection of Sixty Minute
Time allows for a complete look at the model. Having a full hour to examine, measure, plot, align, and add detail to a drawing is very beneficial to it's success. I feel that this drawing is one of my most successful pieces. Long axis lines and carefully measured proportions make up this drawing. The outlines are varied and the value change allows for differentiation. Keeping the darks for the shadows and closets parts allows for a more realistic figure drawing.
This pose of laying down allowed for a curvy axis line. The rib cage and pelvis sat in straight on view for my drawing. The egg shape for the rib cage allows for placement of the sternum and xyphoid process. The abdominal muscles were also viewed straight on. The external obliques, located on the side of the stomach, can be seen along the curve of her waist. The rectus abs consist of muscles that create the six pack on the stomachs.
The line variance on my sixty minute drawing allows for the sheet to be a seperate surface than the body. I tried to get the darkest values in the foreground, yet there were important shadows that needed to be dark as well. Having thinner detail lines as contours on the arms and rib cage allow for directional visualization.
I have fit the drawing horizontally on the page. I draw large and fill the page. This side laying pose reminded me of the Titanic movie portrait. I really wanted to make the proportions, lengths and angles accurate. This long pose allowed me to use space and show a true size. The foreshortened leg was difficult yet I feel that it turned out well. Once we're able to draw more detail rather than the bones, muscles and axis lines I think my drawing will appear a lot stronger. I feel as if I have to hold back from drawing detail like the face, shadows, and even the outlines that fit in. Overall, I've seen a lot of improvement amongst my drawings.
Reflection of Ten Minute
When I compared my two ten minute drawings to Professor Fitchers I saw a lot in common yet quite a few differences. Some of the main differences were line value and thickness, outlining, and accuracy of proportion. In my drawings I try to use a variance of value, yet often I get too dark and thick. I feel that I need to lighten up at first and slowly add more. Also, I 've been using the axis lines and trying to to not outline at all. Sometimes I do decide to add in a few outlines to allow me to line up areas along the body and differentiate outside area from the body.
I feel that adding the egg for the ribcage area really assists in getting the correct proportion. Adding cross-contour lines, especially around the ribcage and pelvic area, allows for understanding of placement and angle. By placing the pubic bone, pelvic crest, C7, and sacrum, the drawing becomes more realistic. In the ten minutes, details aren't as important as placement and accuracy. I have been getting really good at composition. The figures fit directly on the page. I normally start by finding the center of the body and the center of the page. Proportion is always difficult but visually measuring has been working well. I've improved my skills of completing accurate drawings in the short time of ten minutes.
Wednesday, October 1, 2008
Clay Building Reflection
In class after correcting a few pieces I decided to start over. I really wanted to have accurate size and direction on the pieces that would be a base for the rest of the semester. I didn't have much of a problem following the attachments but my interpretation wasn't quite correct. I dealt with the frustration by trying to emulate Professor Fitcher's model. I feel that I learn best by seeing and creating rather than reading directions and creating.
Some of the small details like the twist in the Longissimus grouping of muscles was really hard to create with just my fingers. I attempted using my tools to shave off some clay and push pieces together with the handle of the tools. The clay was difficult at times but with practice any of the shapes are possible to create.
When using the guides, I mainly followed the attachments and pre-cut a similar looking shape to the picture. Next, I pushed the clay to the model and tried to maneuver it to the correct direction and shape. Rounding, twisting, and indenting was very time consuming and repetitive.
On future assignments for the clay model I think I'll try and look at the big picture of the muscles around the pieces. I think the physical relationship between muscles and bones will help me develop a better understanding. Also, seeing other sources and pictures of the muscle arrangement will prepare me for building these groupings.
Some tips for others with the clay is the try and be accurate instead of quick. By trying to just get all the pieces together and on won't be beneficial. Having a few really accurate and nicely done muscles is easier to work from rather than starting over from something you did too fast.
Another tip would be to work the clay and blend it to be smooth once on the model. By warming it up it moves easier and more flexible. Trying to smooth it out once on the model is helpful too because it can be curved and look more realistic.
This clay activity will assist me in drawing in the future because I will be able to place muscle over my egg and pelvic area. I still feel a little like I'm drawing gesture stick people and I'd like to extend into bones and muscles. This knowledge of muscle groups, placements, and layering will allow me to place them on the live model for future drawings.
The Man
#1. Back 3/4 View
Spinalis group
Longissimus group
Iliocostalis group
Obliquus externus abdominis
Quadratus lumborum
#2. Front 3/4 View
Longissimus Capitis- extends, laterally flexes the head and cervical vertebrae. Rotates the head to the opposite side.
attatchements: cranial dorsal mastoid process, caudal transverse processes of vertebrae C4 to T5
Longissimus Cervicis- extends laterally flexes the cervical vertebrae,
attatchments: cranial transverse processes of vertebrae C2 to C6, caudal transverse processes of vertebrae T1 to T5
Obliquus externus abdominis-flexes the lumbar vertebrae, compresses the abdomen; opposite side rotator of the thoracic vertebrae
attachments: axial outer surfaces of ribs 5 to 12, interdigitating with the Serratus anterior; linea alba, pelvic, illiac crest, inguinal ligament
Rectus abdominis- flexes the lumbar vertebrae, helps depress the ribs and compress the abdomen in forced expiration
attachments: axial external surfaces of cartilages of ribs 5 to 7, xiphoid process, pelvic, pubic symphysis and crest
#3. Back View
Spinalis cervicis- extends the cervical vertebrae
attachments: cranial spinous processes of vertebrae C2 to C4, caudal spinous processes of vertebrae C7 to T2
Spinalis capitis- extends the cervical vertebrae and head; laterally flexes and rotates the head.
attachments: cranial medial occipital bone between superior and inferior nuchal lines, caudal spinous processes of vertebrae C7 to T1
Spinalis thoracis- extends the upper lumbar vertebrae and derotates the thoracic vertebrae
Longissimus Capitus/ Cervicis - (in picture #2)
Longissimus Thoracis- extends and laterally flexes the lumbar vertebrae. Rotator of the thoracic vertebrae
attachments: cranial transverse processes of vertebrae T1 to T12, ribs 3 to 12 proximal to costal angles, caudal transverse processes of vertebrae L1 to L5, the quadratus lumborum fascia and the lumbodorsal fascia
Iliocostalis Cervis- extends and laterally flexes the cervical vertebrae
attachments: cranial posterior tubercles of the transverse processes of vertebrae C4 - C6, caudal angles of ribs 3 to 6
Iliocostalis Thoracis-rotates thoracic vertebrae to the same side
attachments: cranial angles to ribs 1 to 6, caudal ribs 7 to 12 medial to costal angles
Iliocostalis Lumborum- extends and laterally flexes the lumbar vertebrae, same side rotator of the lower thoracic vertebrae
attachments: axial angles of ribs 7 to 12, lubodorsal fascia, pelvic medial iliac crest
#4. Front View
Obliquus externus abdominis (explained above)
Rectus abdominis
Reflection on Pelvis Tracing
The pelvis area was more difficult for me to find on the scans. Because these bones lie within the skin and muscle it's hard to differentiate angles and direction sometimes. Using the tracing method on already established pieces of art is helpful though especially because they're proportionate and detailed.
Foreshortened Pelvis
Peter Paul Rubens 1577-1640, Flemish
Prometheus Bound, 1612-1618
Oil on Canvas, Height 8'
Philadelphia Museum of Art
Wilstach Collection
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