Art and Design A comprehensive guide for creative artists - Aaltodoc

More documents

Recommendations

Info

Human figure drawing In the words of Bradley (2003, 144), “you do not always have to draw a figure as it is. You can only emphasise or adjust parts of ... your drawing.” Here we see that the intended aims of drawing human figure—for the learner should target acquiring skills of observation and evidence-based judgement. Most human figure models are routinely posed in nude, since “clothing complicates the figure.” (Vebell et al. 2005, 203) In that way, learners are expected to observe and sketch the body structure of a human figure in a proper way. Ashwin (1982, 139-140) explains, “Drawing from the nude is a study of naked human figures—typically, for the subject of painting, sculpture as well as photography. Such themes have “... traditionally been regarded as the most demanding and most fruitful of artistic disciplines.” On the other hand, topics, or themes chosen for each drawing subject matter should be purposeful. Naive artists get it wrong when they concentrate—put a lot of attention to detail for the time of sketching a human figure, by indicating very perfect forms, tones, structure and detail. Just like a camera. Vebell et al. (2005, 179) assert, “The most important thing is to understand and simplify what you are seeing.” That is to say, likeness of a drawing is not too essential, other than subject matter. In practice, human figure drawings are sketched in the company of a live model posing in front of the artist—with precise direct observation. Pedretti (2004) alleges that in “Leonardo's formulation drawings of a woman's bust, he observed a basic principle of action motion” for human figure drawings, as a way of suggesting movement “... without changing position.” From this we can as well understand that the appointed model of a human figure drawing necessitate a pose that embrace some kind of movement. For the most part, actions of movement enhance exceptional expressions; to a pose and it adds variety, impression, direction and a sense of motion for a successfully composed sketch. Certainly, human figure drawing is probably the most difficult subject artists face. “Knowledge of anatomy will help you understand and simplify what you are seeing.” (Vebell et al. 2005, 179) In that way, learners should be encouraged to make use of a human skeleton as a visual reference of their self-structure. A skeleton reveals joint structures of the human body in their exact spots and if well understood, creative artists can easily make use of them to discover more about the actual human body and its movement of the various parts. During drawing, a human figure drawing can as well get painted with any colouring medium, for example ink or watercolours. Hence, creative artists will add to they're advancing skills and abilities of drawing and painting. Ultimately, then, human figure drawing can also be done by sketching parts separately. We can understand this from the Italian painter, scientist and engineer “Leonardo da Vinci, he devoted a great deal of time to what was very much a scientific pursuit” (Ashwin 1982, 223) when he executed pleasant sketches of detailed studies by dissecting and analysing the tiny details of the human body parts. Let us make a brief review on drawing a study and studies: • Studies are drawings done to display a detailed investigation of a theme or subject. In other words, the attained sketch is expected to display an analytical representation of a specimen in depth. Micklewright (2005, 144) argues, the creative artist may analyse “studies ... from a range of angles, to provide the three-dimensional information ... needed to make the final” artwork. • And by drawing a study, the artist may use “an individual approach to compose the study” in reasonable solus (single) details...” (Micklewright 2005, 14) Hence, a single explored drawing or a sketch is enough to represent a theme for achievable learning objectives. In general, it is less easy to appoint a (human figure) model needed for executing certain drawing tasks— accompanied by the above mentioned; studies or in a study. The human figure drawing of a lady in a basic sitting pose. Materials: Pencil on A3 size paper. 52 53
Vebell et al. (2005, 202) prefer a different argument: “copy from old masters or draw from photographs.” In a thorough manner, drawing from photographs fits well to experimental learners. And in situations where there is scarcity—finding difficulties in identifying the right model or a specimen needed for a drawing activity or task. Learners in school may be encouraged to work in small groups—pick two or three people to pose as volunteer models. Hence it is important to formulate decisions for the most appropriate pose, which will provide support to other artistic themes as sources of inspiration for new art and design projects. Ashwin (1982, 139-140) notes, “The greatest enemy of life drawing is habit” caused by opting for a particular general pose for a model. This may lead learners to—get frustrations and restlessness whenever a model moves or tries to change a pose. We can as well add this proposition as a conclusion that, befitting poses should be free from pain and not very complicated for a selected model. Apart from that, in a normal manner; the forms and structures of human figures are so different, the learner has got to study a lot about bones and muscles. According to ThirdWay (1985, 20) a Christian based magazine, “Models in most art schools, however are still predominantly female and where I have encountered students having ethical problems in working from the model, it has mostly been where male models are involved.” From here we can also say that proportions of a human body (in either seven or eight heads—tall) can not be easy to draw by learners particularly if the model is standing straight. For the time of sketching, make sure that the parts included on a human figure are treated with sincerity—depicting the likely gender and age group of the model. The viewer is not expected to ascertain the gender of a model from the face or cloths worn. That is to say, women have slender bodies, men have muscles and babies have improbable bodies. Finally, feasible aims and objectives of drawing humans should boundlessly be focused on composition, proportion, line, texture and sensation. Croquis 'Croquis' comes from a French word rough sketch. Such sketches are for the most part done while the model is moving, changing possess or positions after a few minutes but not static—in a single pose. Sketches of croquis are for the most part unfinished, final results appear as sketchy lines without much obliged details. Creative artists routinely sketch croquis purposely for learning how to quickly capture the golden moments of a posture, as well as acquiring skills of using various drawing tools such as a brush, a pen or a pencil and ink in various techniques—on different surfaces. Ashwin (1982, 122) suggests another rational drawing material: “bistre a brownish-yellowish pigment” made from the “soot of burned wood.” It is produced “by boiling soot.” This type of ink can serve the same purpose—just as the genuine black inks. In spite of that, other creative artists mix ashes to acquire a soluble drawing material like ink. It is as well essential to brief learners about the following— examiner expectations on the subject of drawing human figure: • Balance the drawing on the paper space provided and it should be within the correct orientation, by the thoroughness of a singled out type of pose. • Understand the hidden meaning of the pose • The examiner is not interested in looking at your remarkable talent. Instead, he/she will check to find out how well intended learning outcomes were achieved in the activity. • Too much extra body details are less necessary and in this way, it is a waste of valuable time. As an example drawing details of the figure like the eyes, hair and fingers or nails as precise as possible. • Simply concentrate on the body structure and form in addition to other mentioned goals of the study such as achieving proportions, expressions and the pose, as well as using tone correctly; to appear in places where they deserve to be. • Pay more attention to the subject matter you are dealing with 54 55
Page 1 and 2: and Design Art and deign Art and de
Page 3 and 4: Preface The goals of this book 1. T
Page 5 and 6: • Decorating fabrics with more th
Page 7 and 8: CHAPTER ONE Art and design Art and
Page 9 and 10: Several examples of geometric patte
Page 11 and 12: Architecture A basic example of the
Page 13 and 14: Elements of design A closer look at
Page 15 and 16: Inset: halftone dots obtained from
Page 17 and 18: Jung (2004, 139) remarks, “Of cou
Page 19 and 20: Principles of design Principles of
Page 21 and 22: Play. A painting with proposing act
Page 23 and 24: Exercise 1. By associating each ele
Page 25 and 26: d) Charcoal is good and it is an ab
Page 27: A lakeside Background landscape sho
Page 31 and 32: A study of a cow. In the profile vi
Page 33 and 34: Scanty waters. Acrylic painting Siz
Page 35 and 36: Liquids for painting The types of l
Page 37 and 38: Although it is sometimes necessary
Page 39 and 40: Trowell (1951, 27) shares a rationa
Page 41 and 42: Well as computers have dominated a
Page 43 and 44: Phillips (2004, 9) reminds us that
Page 45 and 46: m) In conclusion, on any outstandin
Page 47 and 48: Lowercase The lowercase alphabets a
Page 49 and 50: Proportion It can be used to work o
Page 51 and 52: Illustrations can be done as painti
Page 53 and 54: Logo Trade Marks Label Notice sign
Page 55 and 56: Michaels (2010) points out some “
Page 57 and 58: The ultimate goal of designing a bo
Page 59 and 60: A raised surface b) Intaglio printi
Page 61 and 62: d. Outdoor signs are the major visu
Page 63 and 64: A collage artwork Materials: Dry le
Page 65 and 66: Apart from that, excess glue can be
Page 67 and 68: A small section of a floor surface,
Page 69 and 70: A pendant of a necklace Materials:
Page 71 and 72: f. Needle/long nose pliers uses it'
Page 73 and 74: The aggressive conduct of these war
Page 75 and 76: CHAPTER NINE Weaving Weaving is the
Page 77 and 78: Here we see that through trials and
Page 79 and 80:
. Yarn is for fabrics as straw and
Page 81 and 82:
Tod (1977, 172) laments, “Cloth m
Page 83 and 84:
Exercise 1. By using found material
Page 85 and 86:
To simplify the discussion, let us
Page 87 and 88:
Here is an itemised set of methods
Page 89 and 90:
B A A: An already made tie-die fabr
Page 91 and 92:
Start by preparing a separate scree
Page 93 and 94:
CHAPTER ELEVEN They made “clay re
Page 95 and 96:
Examples of inverse relief can be f
Page 97 and 98:
Sometimes plaster of Paris is used
Page 99 and 100:
Maquette A maquette is a translatio
Page 101 and 102:
Rich(1998, 250) offers a reasonable
Page 103 and 104:
“Welding equipment is largely use
Page 105 and 106:
. Porosity of clay is determined by
Page 107 and 108:
• A pottery artist needs enough e
Page 109 and 110:
owl, a cup. In size and shape it wi
Page 111 and 112:
Along with the left hand and add so
Page 113 and 114:
• Photography can be used to depi
Page 115 and 116:
Explanatory photographs Descriptive
Page 117 and 118:
Here is how: • Film cameras were
Page 119 and 120:
Crafts other than those detailed ab
Page 121 and 122:
2. In an area of 25cm by 30cm, desi
Page 123 and 124:
Q quill feather 68 R raffia 148 red
Page 125 and 126:
Mills, John W (1990). The encyclopa
Page 127 and 128:
250 251
show all

Art and Design A comprehensive guide for creative artists - Aaltodoc

Create successful ePaper yourself

Delete template?

Save as template?