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Pencil Sketch Drawing g He No

Pencil Sketch Drawing g He No

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Published by Carlo Luzzi

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Published by: Carlo Luzzi on Apr 20, 2013
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11/17/2013

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 presents
Sketching Techniques toLearn How to Sketch withExpression and Power
32
pencil sketchdrawing lessons
 
2
 
.idi.c
Leaning Figure
 D Ghe, 2003, i gie  d e, 24  18. Ceci he i.Hee, I ied  c   g hie dig hi qic, 20-ie ech. I ied  gie  ee hic d chgic eigh  he ige  he eed  he “ie  gi” i he  ; I ied  cee  eeig  hee ih  e  hz e h d he ige,iie he ig , d ce he ecedig . I  gh  decie e  heeig hh h ee  cic hgh he  d i.
good, expressive gesturedrawing is at the core of every effective figurativeimage, whether it’s a loosethree-minute drawing, a tightthree-hour drawing, a highlyresolved three-week drawing, or an obsessivelyobserved and reworked three-year painting.Many people, especially nonartists, think agesture drawing is nothing more than a scrib-bled quick sketch. Some drawings can be noth-ing more than this. But in the hands of obser-vant artists, the initial gesture drawing meansmuch more. It establishes the overall propor-tion of the figure, quickly fixing the mood, thesweeping action of the pose, and the underlyingrhythms that give animation and life to a figuredrawing. To artists, a good gesture drawingswings like a Duke Ellington song and serves asa foundation that keeps all of their later, detailedobservations vital and alive.
A
pencil sketchdrawing lessons
ActionGesture
 
&
ExprEss tHE moDEl’s GEsturEwItH vIGorous strokEs anDlEt It bE tHE GuIDE for yourDrawInG. HErE’s How.
by Dan Gheno
thi ce h ee idged   igi ice ie  D Ghe. thi ei h ee ihed  Ieeepe, 201 E. fh s., led, Co 80537-5655; (970) 669-7672. Cigh © 2009  Ieee pe,  diii  aiemedi,  igh eeed. the ce  hi ici   e edced eihe i he  i  ih ce  hecigh e.
 
As I mentioned in one of my firstarticles on drawing for
American Artist 
 (January 2000), I feel that the “line of action” is the most important aspect of a figure drawing and certainly at thecore of a well-observed gesture.
First,you want to establish the general actionof the figure with a sweeping line—or line of action—that runs through the bigshape of the figure, capturing the overalltilt of the pose.
 
Then, you add further lines, looking for the individual slantsof each limb.
You can imagine theseaction lines in your head, or you canlightly draw them on the page. Whendrawn, the initial sketch can often looklike a loose stick figure. It sounds simpleenough—but it can get needlessly com-plicated if you don’t develop strategies tosystematically observe, record, and retainthe subtleties of gesture as you delvefurther into the detail of form and value.Below, I suggest some methods forachieving a successful gesture drawing.
3
 
.idi.c
pencil sketchdrawing lessons
Process Drawing,Gestures (detail)
 D Ghe, 2004,gie  d e,13  24. Ceci hei.se i cee iied cii heiig ie ige he e de che ge. m ie hi ie gig,ced  ce dig, cee  eige  he, e e, he e i gge  eqeici i he ige,  ihe de ee ig.f hi dig, hede   eie geie eigci ii, hdigech e   eh ie ie.

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