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I know exactly these two ways of working and I enjoy both but sometimes the second one even more. I know this working with film, as when there is a long project with a crew ,everything is worked out and you are trying to get to the precise original idea. But then I shoot randomly sometimes on my Bolex, instinctively shooting situations as they interest me and often this leads me to discoveries and interests I could have never come up with thinking it out. The second is a process of discovery and it can be playful and fun.
From day 23(1) to 23(2) his expression is totally changed! From something that looked really angry to being really sad. Amazing work, very expressive. I wonder if it was the eyebrows that made the difference
It’s the combination of shapes. Head tilt, the shape of the head and shape and how the shadows hit and what the context is, what’s around it. The shoulders and thrust of the body. All of these contribute to the expression but as you tweak this or that you have to be sensitive to how it’s changing that feeling- hopefully then can steer it in the direction you want.
Joshua,
Thanks for that insight. That sounds like a wonderful, very free way of making a picture. Do you have an idea ahead of time as to lighting? It seems like I really need at least that much before I can get going on an illustration. Lighting seems to be the thing that speaks to me most, at least in the initial stage of visualizing an image.
Also, I see what I think is a strong Pontormo influence in your work. Is that correct?
If you can draw 3d form you can in theory light it however you want so I don’t think you must know what you’re doing with lighting in advance. Either way my recommendation is you light something simple like a sphere or egg and use that as a reference to compare your characters against. Kind of like a “shader ball” or “Matcap” in 3d software. Yes I have studied Pontormo but much more I’ve studied Michelangelo, Rubens, and the ancient Greeks. Hard to say which influences me most because I’m not actively thinking about any other artist as I draw so it’s been internalized I guess.
Shazad,
Exactly! I think both of ways of working: executing a plan with a purpose, discovering a piece organically are useful!
Day 26: spent over an hour on this today trying different variations on the poses for the lower bodies since this has changed so much. Doesn’t look like much but I think I know what direction I am heading now. Also her lower arm was too long so I pulled it back.
Hi – thought I’d come post as you were kind enough to comment on mine. It’s nice to see that we both have the same goal in mind – drawing from imagination, though you are further along your drawing journey than me. I like your figures. They seem very tormented.
Really nice watching this process. I like watching all the adjustments you’re making while constantly re-establishing the forms and planes. It seems it would be easy to lose the structure while making so many adjustments, but you’re not.
Hi Joshua,
Thank you for being part of this challenge – it is a gift to be able to see your work and process. I’ve just looked you up on Instagram and your work is truly beautiful. I also love the work of Michelangelo and Rubens and I can see their influence in your work. Masterful. Thank you.
Kind regards,
Deborah
Ladyb, yes my figures usually end up that way even if I start out with an upbeat idea in mind. Not sure why exactly. I think the drama draws me in.
Paul, if you always draw structure and never resort to copying or doing flat marks you will keep the piece dimensional, true enough—but things can get messy if you tweak them over and over again the way that I have. That’s what happened here and I thought it best to just start the drawing fresh now that I know the overall design. That’s really liberating.
Deborah, thank you for saying so! 🙏🏼
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