Mi Proyecto del curso: Dibujo de la figura humana en movimiento
Mi Proyecto del curso: Dibujo de la figura humana en movimiento
by Fernando Faci @fernando_faci
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Estimado Shane Wolf:
Me ha interesado mucho su curso y sigo intentando aprender de él.
He tratado de seguir las indicaciones. Para ello preparé cinco grafitos: Una barra de 3B con punta muy redondeada, un lápiz 2B con punta normal, dos lápices BH de punta fina y un lápiz 2H de punta fina.
La imagen utilizada la he extraído de una página web que permite la utilización de algunas imágenes para artistas. Escogí una figura difícil para las proporciones, con sombras y que me resultara estéticamente cómoda en mi primer desarrollo.
En el dibujo he encontrado varias dificultades.
La primera dificultad ha sido s que he escogido un tamaño de papel que creo que es pequeño para el tipo de proyecto. He utilizado papel caballo satinado de 29,7 x 42 cm. Si dibujo la figura humana completa veo que el lápiz 2B de punta redonda me ha resultado bastante impreciso. Quizás debería de haber escogido un papel más grande … Además, al utilizar el lápiz 2H me ha pasado que no he podido desarrollar bien esa zona de medias sombras y luces.
En segundo lugar, mi lugar de dibujo es un poco pequeño y he tenido que copiar a mano alzada de una pantalla que estaba a medio metro del dibujo. Esto creo que dificulta mucho el dibujo. Una de las distorsiones es que la excesiva luminosidad de la pantalla produce cierta ceguera para las sombras al desarrollar inicialmente el dibujo y exige alejarse muchas veces para lograr cierta perspectiva.
He subido dos fotografías. La primera del trabajo bastante avanzado y la segunda del trabajo para presentar.
Espero sus sabios consejos.
Muchas gracias de antemano.
5 comments
Hello Fernando,
First of all thank you so very much for having taken and completed my course! I hope you learned a lot of good information that you can continue to apply to your own work.
I will indeed answer your questions and give you a full critique of your drawing, but first would it be possible to post a photo that is more close-up of your drawing? It's a bit difficult for me to see some of the details in the current photos. You don't need to include the photo reference since I already see it in your second photo, just the drawing.
Thank you!
I have replaced the initial photo with a better photo. It has not been easy :)
I hope the photo is useful to be able to make an analysis of it but, if necessary, I could send photos with details of the drawing.
Thanks in advance
Hello Fernando,
Yes the images are better. Thank you for posting them.
First let me answer your technical questions.
The 2B pencil with a blunt / round tip is indeed imprecise; that’s it’s main goal: to keep you away from details and search for more masses rather than small lines. This is of course not a rule, but something I enjoy in my process: to be able to freely seek the figure with thicker, softer lines in the beginning and then also to be able to quickly fill in shadow shapes. It is true that if you’re working in a small format, then the impact of the 2B’s bluntness will be more apparent and less precise than if you were to do the same drawing 3 times larger. The size of each drawing you do in graphite is up to you; once you get a feel for how the tools work, you will naturally start having your own preferences (i.e. if it turns out you prefer to sharpen your 2B, then that’s completely ok).
In terms of your physical set up with your drawing surface and your image reference, I honestly don’t have any experience using screens to draw, but I can imagine that it would perhaps be better to print an image rather than look directly at the screen. I think you are right that the screen’s luminosity makes judging values more difficult, in particular in the shadows.
This weekend I will give you the critique on the drawing, but for now I just wanted to answer your initial questions.
More very soon!
Now for the drawing…
I like that you chose a very dynamic pose; it is not often that we see people in this position!
Overall her proportions are looking good. Just a small tweak in that her hands and her feet are a bit small. For the hands remember that notion of 20% smaller we covered in the anatomy lesson: the hands are more or less 1/5 shorter than the forearm, and the forearm more or less 1/5 shorter than the upper arm.
Your value range looks pretty good. I’m glad to see that you kept the darkest darks for the hair and just a little of the deep shadows on the forearms and buttocks. I’m also glad that you controlled your reflected lights in the shadows; in the first photo I see that they were too light on the thigh and butt, and then you corrected them in the 2nd image. Good job.
In terms of the lighting on the entire figure, the “fall of light” over her whole body should be more apparent. I can tell by where your shadows are (and by the cast shadow of her upper thigh onto her abdomen) that your light came from the right side and a little upwards of the model. In this case then, the light shapes on her torso, arms, and head should be getting gradually darker, while the legs remain light (since they’re closer to the light source). Adding this veil of light to her upper figure will give you a greater sense of depth.
In terms of how you are rendering, the forms look pretty good. Her ribs, breast, and thighs turn nicely. In her portrait, there is just a little too much contrast between your shadows and your lights, so when you darken your lights as per my previous observation this will make the forms more subtle and soft.
You are also nice and attentive to her contour; I can see that you’re paying attention to what’s happening at her edges. Feel free to experiment with maybe softening the edge of a part that is behind another: for example the rear forearm could be just a bit softer on its edges than the foremost one. This is not a rule of course, but something that can add even more depth to your work.
Just one last recommendation concerning her hair: typically the hair edges are amongst the softest (if not THE softest) edges in our work. When we draw hair with hard edges, it gives either a wet or greasy effect (which is completely ok if that's the look you want). When hair is in its natural state, it's a mixture of very soft "fly away" bits, more compact and tight bits, and everything in between, all of it being softer than any of the figure's edges itself. In general, so long as the hair edges are treated differently than the edges of the figure, you are telling the viewer that there are 2 different substances at play: hair versus skin. This principle would apply to any hair on the body: pubic, armpit, chest, bearding, moustache, even as small scale as eyebrows and eyelashes!
I hope this information helps you out not only on this drawing but also for your own, personal work as well.
Congratulations on finishing the course!!
Dear Shane:
I have tried to make the modifications that you indicated. I have increased the size of my hands and feet. I have modified the texture of the hair and have tried to improve the midtones. I hope they can be perceived.
Thank you very much for the detailed analysis that you had carried out. I'm really grateful to you.
Fernando Faci
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