Terry Miura • Studio Notes


Sunday, May 19, 2013

Figure Drawing



I am in the middle of writing an article about figure drawing. I had no idea where to start, so I just began jotting down anything and everything that came to mind about figure drawing and very quickly, it became apparent that this is a subject matter far broader than can be covered in one article. Well, duh, right?

So I decided to narrow the scope down to just short-pose gesture drawing, which, after all, is my forte. But guess what. The scope is still too big! I had to narrow down still, so I thought I'd focus on the technical aspects of it - after all, that is what I get asked about most often. 

Which is just as well, because though I study the Old Masters' drawings, I can never keep the historical facts and names straight, much less articulate figure drawing in historical contexts. Talking about anatomy is not that interesting, either.  Yes, the knowledge of anatomy is essential, but to write about it is really boring. Besides, who wants to read about anatomy in an article? 

So it comes down to technique, and I have further narrowed the scope to economy of line. This is something I stress in my classes and workshops - when working with two to five minute poses, we can't afford to waste our time drawing unnecessary lines. There's just not enough time to render form, either. We have to get the maximum information on paper in very few strokes and make them look good.

How do we do that?

Well, that's the subject of my article. I'm not even close to finishing it, but at least I've narrowed it down to a manageable scope.







Hopefully, I can finish it soon and get it published. If not, you'll still see it here on this blog in some form or another.

If you are interested in drawing or painting the figure, especially the gestural approach, I want to let you know that I will be conducting a five-day intensive workshop in Atlanta, in mid September. The workshop will cover short pose gestures like what I've shown on this post, and how to build on that to quickly define light and shadow. Then we move onto toned paper with sanguine and conte, which transitions logically to limited palette painting. 

We'll cover all that in just five days, so it's very intensive. But I guarantee you'll get a lot out of it. 

For more information please go to the workshop page on my website.



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