Study 1 Oval Rib Cage

Artist: Pieter Lategan
Title: Study 1 Notebook P2 – Oval Rib cage Pubic Bone
Medium: Medium Sketch Pad Acid-Free Paper, Pencil B
Dimensions: 210X297mm


Artist: Pieter Lategan
Title: Study 1 Notebook P3 – Oval Rib Cage Pubic Bone
Medium: Medium Sketch Pad Acid-Free Paper, Pencil B
Dimensions: 210X297mm


Reference

Artist: Pieter Lategan
Title: Study 1 Notebook P4 – Oval Rib Cage Pelvis and Legs
Medium: Medium Sketch Pad Acid-Free Paper, Pencil B
Dimensions: 210X297mm


Reference

Reference

Artist: Pieter Lategan
Title: Study 1 Notebook P5 – Oval Rib Cage Pelvis and Legs and Body
Medium: Medium Sketch Pad Acid-Free Paper, Pencil B
Dimensions: 210X297mm


Reference

Reference

Personal Notes

I choose the oval shape method for my drawings instead of the blocks. I might later begin with the blogs, but for now, it looks for me too difficult and I prefer the ovals.

After these studies I got a better understanding of how the hips work. Also, I can now exactly see where the bones of the arms attach to the body.

I can also understand where the belly have to fit in and where the curves are for the belly.

The ribcage is actually very easy to draw. It is an egg shape.


Music Listened to:

Simon & Garfunkel – Sound of Silence (1964)


Sources:

http://rebloggy.com/post/head-hands-feet-folds-anatomy-muscle-shoulders-torso-art-reference-art-tutorials/77405367531

https://za.pinterest.com/pin/593701163363828581/

http://www.sadievaleri.net/blog/2010/3/12/ecorche-drawings-pelvis-shoulder-girdle-skullribpel-combo.html

http://figdrawing.blogspot.com/2008/01/ribcage.html

Study 17 – Woman Drawing

Artist: Pieter Lategan
Title: Study 17 – Woman Drawing
Medium: Medium Sketch Pad Acid-Free Paper, B Pencil
Dimensions: 210X297mm


Personal Notes:

I still struggle with the sketch, the information which I learned is new and I need to work with more feeling and understanding. I must explore more, and get more information about the model. I think that I work to fast, but I am very positive.

Reference

Envelope Drawing

Reference

Gesture Line

Reference

Structure Dots

Reference

Structure Lines

Study 16 Figure Drawing – Volume

Artist: Pieter Lategan
Title: Study 16 Figure Drawing – Volume
Medium: Medium Sketch Pad Acid-Free Paper, B Pencil
Dimensions: 210X297mm


Reference
Reference

Personal Notes

The body is too wide, and the legs are too thin. I struggle with the upper legs and the drawing of the pelvis. I think the hips are too wide.

I am happy the arms, but it is just more and more practice.

Educational Value

Start with the ovals first, and that will be the ribcage.

It is important on this stage to see where the spine is at the body. That will help you understand how the figure is standing. You will see it is a C-shape.

Draw in the oval for the pelvis area.

Then you can start putting some features in the head just to shape it a bit.

It is now the time to insert the neck and now you will see dimension is coming in. The neck is a cylinder shape.

Start then creating ovals for the shoulders.

Begin with the arms and give them ovals it can be simple ovals it is just to give you an idea where the arms are.

Start now with the legs and see the angle of the legs and the feet. You will see that one foot is lower than the other foot. Also, look at the negative space between the lower legs that is also important.

You will see the feet are block shapes the one is at the back and the other one to the front, both of them show inwards.

So I start with the V-shape of the ribcage and then put the belly in. I also use an oval for the belly which fit into V-shape.

There is a flaky side on the body of the women and it sits just a little bit up the hip. Remember a woman’s hips are wider than a man’s.

On the right-hand side is their strength and on the other side of the body a pinch. Take note of this detail.

I draw cylinders for the upper legs to see the direction of the leg. You will see in the sketch the one moves forward and the other one backward.

Remember the breast are fleshy landmarks and it moves when the arms and shoulders are moving.

You can put a shadow for a background and on the body. It is important to find a direction for the shadow and draw it in.

It is now time to simplify the sketch by erasing some of the lines.

Sources:

https://design.tutsplus.com/tutorials/how-to-draw-a-stick-figure-a-complex-guide–cms-23620

Study 15 – Stick Figure

Artist: Pieter Lategan
Title: Study 15 – Stick Figure
Medium: Medium Sketch Pad Acid-Free Paper, B Pencil
Dimensions: 210X297mm


Personal Notes

I search on the internet for a nice model and got one. I like the way the woman is standing. I used photoshop to plot everything out to make it very clear.

Educational Value

Reference

Envelope Drawing

Gesture Line

Structure Dots

You need to see and understand what the figure is doing. Plot the joints. Start with the shoulders. Then the arms, but also plot the fingertips. The neck, the bottom breast, the navel. Do the hip joint and then the knees and going down to the ankle point and then the toes.

Also, connect the ear and eyes.

Start searching, for things that look similar, like lines that are in the same direction. Explore the sketch and look. Just observe.

Structure Lines

Get a sense of what the bones are doing. Connect now the points. You now have to look at the angle of the joints. When you connected all the dots you get a stick figure and this gives you structure.

Now you can see the relationships which are higher and what is lower.

Connect the eye and the ears.

Study 14 Sketch 1 & 2 – Envelope and Gesture Drawing

Artist: Pieter Lategan
Title: Study 14 Sketch 1 – Envelope and Gesture Drawing
Medium: Medium Sketch Pad Acid-Free Paper, B Pencil
Dimensions: 210X297mm

Reference

Artist: Pieter Lategan
Title: Study 14 Sketch 2 – Envelope and Gesture Drawing
Medium: Medium Sketch Pad Acid-Free Paper, B Pencil
Dimensions: 210X297mm

Reference

Gesture Drawing

These are quick sketches that you do in a limited time frame often as little as 10 seconds, or as long as 5 minutes. It is to get the feeling of the gesture. It is the pose of a model/figure. It is often performed as a warm-up for a life drawing session.

The primary purpose of gesture drawing is to facilitate the study of the human figure in motion. This exploration of action is helpful to understand the exertions of muscles, the effects of twisting on the body, and the natural range of motion in the joints. It also tells you where the weight of the body is. It is also a method of training the hands to sketch what the brain has already seen.

This practice allows the artist to draw spontaneously poses that cannot be held by the model long enough.

Artists who undertake gesture drawing also receives the benefits of self-training their drawing ability. For some artists, a gesture drawing is the first step in preparing a more sustained work, but I start with the envelope because I feel that is my first step.

Drawing longer than two minutes are usually not considered gestures, as they inevitability allow the artist more time to measure and plan the drawing, or to begin to define the form with modeling. If the artist starts measuring, erasing, or improving it begun rendering. They will be improving the complexity of their current drawing, but they are no longer practicing their ability to draw correctly from an instant impression.

Reference: www.proko.com

Source:

https://za.pinterest.com/pin/107312403597779403/

https://za.pinterest.com/pin/107312403597779375/

https://en.wikipedia.org/wiki/Gesture_drawing

Study 13 Envelope Drawings

Artist: Pieter Lategan
Title: Study 13 Envelope Drawings
Medium: Medium Sketch Pad Acid-Free Paper, B Pencil
Dimensions: 210X297mm


Reference: Sketch 1
Reference: Sketch 2

Envelope Drawings

It is tracing around the overall image and to simplifies the form. It is showing your high points and low point. This can also become abstract. It helps to set proportions for subjects at an early stage in drawing and focus attention on dominant angles in the composition.

There are many advantages to understanding the concept of envelopes. Envelopes allow artists to view the shapes of subjects abstractly. Envelopes enable the artist to consider the group of objects as a whole before considering the constituents of the group. This is to work from general to specific, which is very important when learning how to draw.

Drawing envelopes forces the artist to find angles in the object and draw more accurate of its overall shape instead of what the artist believes the subject looks like. This also stops the artist from focusing on tiny details when he starts to draw.

A good envelope uses the smallest number of lines possible to describe the subject. Cropping out minor parts is good to do. It normally uses the biggest or most obvious lines. When using an envelope you can then think of flat shapes and not three-dimensional objects.

It is also very important to understand what envelopes should not look like. It should not have interior lines nor have many small lines. It almost never has curved lines.

The experienced artist frequently cut off portions of the subjects in order to conserve lines when making an envelope. It becomes second nature with practice.

A poor envelope has white spaces around the subject. That is not correct.

Madonna in the Meadow by Raphael

Sources:

https://za.pinterest.com/pin/827043919049964099/

https://za.pinterest.com/pin/250442429266324099/

http://www.davinciinitiative.org/uploads/3/8/6/4/3864305/drawing_with_envelopes.pdf

Study 12 P2 – Setting up your Studio

Artist: Pieter Lategan
Title: Study 12 P2 – Setting up your Studio
Medium: Drawing Book A4, Pen
Dimensions: 210X297mm


Setting up your studio

Reference

To stand and work/draw is the most preferable thing to do when you are drawing. If you have a model always stands towards the figure you are drawing. This will help you not to block the subject and prevent drawing over your arm.

Reference

If you need to sit use a draughting table with a slant and a side table for your equipment is always good to have.

Reference

If you draw with your board flat you get distortions so use a board and sit with a slant.

Sources:

https://www.artsy.net/article/artsy-editorial-5-simple-tips-improving-figure-drawing-skills

https://za.pinterest.com/pin/353743745703111155/

https://www.amazon.com/customerpicks/Explore-drawing-boards-for-artists/bdf183a46fd18ff1f028

Study 10 P1 – Notebook Mannequin Drawing Man Sitting

Artist: Pieter Lategan
Title: Study 10 P1 – Notebook Mannequin Drawing Man Sitting
Medium: Drawing Book A4, Pencil B
Dimensions: 210X297mm


The Outsider – By Pieter Lategan

The society follows all,
because of the inability of trapped rulers
who can’t rebel against their own rules

Privileges spending their time
renewing their thoughts and think for themselves
instead of doing nothing


Reference

The Outsiders