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Good work all around.
I would make the heads a bit smaller. Don’t be afraid to group the ribcage and pelvis into one big form as you feel the figure throughout. I like that the form shapes read clear. Couldn’t find examples of Rubens, but look at the sketches of Poussin: Ignore his shading, but look at how big and blocky he is. Vilppu once blocked out a figure using straights, still as gestural as if he was going through them, again, approach was different but they still conveyed the action.
Thank you! I will look at Poussin and try to focus on the bigger forms. It will be easier to learn from a drawing where the information has already been organized for me.
Day 51 is referenced from the NMA image files, here is the link https://www.nma.art/images/yoni-poses-1/
Hi Jaylene. Here are some quick redraw notes. For the 3rd figure. Overall, watch your proportions. Yoni is pretty damn buff so his torso/limbs can be lengthened. Feel free to play that up. Look at how heroic Michelangelo made his figures. Spend a day just looking at his Sistine Chapel. For this figure, really focus on having a solid foundation to lay those box forms. The ribcage should be a box with a clear top plane. Your clavicle line is too close to the trapezius which destroys the form. In the notes below, you can see how I just made it a box. A cylinder would be great too! The trapezius is a good rhythm line that goes from shoulder point to shoulder point.Having a strong and clear grounding, the arm would have flowed nicely off the shoulder.
Don’t be afraid of connecting and flowing through long-axis lines at the start of your gesture. The ribcage should flow into the hips to the legs down to the foot. Look at the far left notes. 🙂
This is for your right-most figure. Again, proportional issues where the head is a tad bit to big and the legs could use some length. That comes with time. Since you’re studying box forms, try not to get bogged down too much in anatomical detail. You wanna make clear the forms read for the viewer. In the right arm, I’m a bit lost. I know the deltoid bunches up into the scapula when moved up and muscles just contort there. In my redraw, I simply just drew the shape of the scapula with a box coming out of it. Clearer. How long are these drawings by the way?
I boxed out the pelvis and legs. And shaded them in accordingly. Pay attention to your light source. Mine comes from the right-above. Your upper legs seem to be inverted? Not sure what the lighting was in your reference. Both back planes should be shaded. Hope this helps! Continue having fun and exploring. 🙂
Wow that is so much better. You keep saying I am making the heads too big but I just couldn’t see it. Honestly I felt I was making them too small. I don’t know why I think that way. But seeing your drawing of the same figure it makes more sense. Thank you very much for all this extra effort to help me. I really appreciate it. Your drawings make what you are saying very clear. Still I continue to get lost in the general bumpiness of the contours rather than on the flow of the gesture and establishing clear structure. I want to blame all the Kimon Nicolaïdes style blind contour drawings I had to do in school, but that was a very long time ago so in truth its just an excuse. Let me try this again.
You are very welcome. Glad it helped somehow.
I actually have that Nicolaides book, since Marshall Vandruff recommends it in his book reviews: https://www.marshallart.com/HOME/reviews/draftsmanship/
Skimmed through it. Never actually gotten around to tackling those exercises. XD
There’s a ton of info to wade through. Learn from what works best for YOU. 🙂
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