Long Drawings

This first drawing is the most dated of the three. However, it, more than any of the others, captures the musculature of the form. This muscular definition is at least partially attributed to the fact that the model was male. Generally speaking, the muscular structures are more visible in males than females, which lends them better to representational drawings of muscular systems. Though we have been privileged to have Ashley, our male model, for the majority of our live drawing sessions, his often complex poses leave me struggling to accurately depict the form itself. During this particular session, he assumed a much more neutral and much more readable pose. This provided me with the opportunity to concentrate on the visible muscle structures we had discussed in class.

The proportions of this study are quite accurate but, with any drawing, there are a few discrepancies. The hips, though not directly represented, should be torqued more towards the upper left extremity of the paper surface. This lack of consideration causes the right leg to read as being longer than the left. This issue may also have been better resolved through the use of lineweights to distinguish foreshortening. Their is some consideration paid to the use of lineweight, but it is inconsistent. The left leg is the closest form to the viewer, however, the foot on the base of the same leg is faintly rendered.

The pose, as I mentioned earlier, is basic and relatively easy to read. The figure is seated and leaning away from the foreground. He is also resting his head upon his hand while using the seat of a stool for support. The ribcage is viewed essentially in profile. The external obliques are evident as they wrap around towards the anterior side of the figure. The recognizable curves created by the hamstrings and quadriceps, along with the protruding curve of the gastrocnemius are easily identified as well. The ripples of the external abdominals are also visible. Though we have not studied the arms, the forms of the bicep and tricep are visible along with the muscular contour of the forearm as it attaches to the elbow.



The second drawing, pictured above, represents a middle ground between the other two drawings. Represented here is a strong balance of proportion, lineweight and muscular structure without any one of them being outstanding over the other. Without the one notable exception that the composition is relatively weak, having the hand cropped out of the picture plane, all of the other areas remain well resolved.

Though the lineweight exposes little variation, there are fewer and fewer strokes used to represent and individual line. The muscles developed within the structure of the form are drawn more faintly than the line suggesting the overall form of the figure. Despite the muscles being difficult to discern on the actual figure, the gluteal muscles and the external obliques are visible as they wrap around the posterior region of the model. Spinal erectors also started to emerge as they contoured to the long axis line which represents the spine.

The figure itself is also portrayed in convincing proportion with no glaring errors noticeable. The pose, though simple, was easily portrayed. The model is simply seated, resting her arm upon an elevated surface, and facing away from the viewer. This drawing depicts areas of progression in my work perhaps, most notably, an accurate portayal of the model in pose.



The final long drawing is the most recent of the three picture here. The most impressive aspect of this particular piece is the realization of form and proportion. The depth, despite any strong variation in lineweight (a recurring flaw) is very convincing. The foreshortening of the torso is especially useful in designating the orientation of the model. The legs, a common problem area for me as well, appear to be in equal proportion to one another. The foot nearest to the foreground is also well accomplished, considering we have yet to examine this area in depth.

It is not to say that this drawing was accomplished without error. There is a vague, though noticeable, outline surrounding the defined form of the model. Due to on simple scaling issue, the rest of the drawing was thrown out of proportion. After some careful adjustments the end result is a success.

Further development of my future drawings will focus heavily upon the intentional application of line and lineweight. Muscles will be addressed in more extensive detail and, granted the time, adding value to these drawings is a crucial step that I have yet to explore. Though charcoal is far from my medium of choice, it would be beneficial to practice a technique that challenges my drawing ability.