Corey, Every artist has a 'shorthand' they work with when capturing forms quickly for the sake of gesture. With this I have no issues. I think when you fall back on it too much - as all the artists in this class do, from time to time, the nuances of what hands, faces or figures do can get lost. The first page - where you're really focusing on the hands and the objects they hold - is where I wanted you to place the emphasis. I think the top left corner of the second page has the strongest results but you start to develop more of the upper body of the figure, then more and more in the last page. Stay focused on the hands and really look at how they are articulated. Most importantly, appraoch them in the same way you approach a full-figured gesture. Light and loose, initially, place darker lines in to describe form and points of tension.
I really like the blue hands, but some of the other hands you drew are looking a bit like glove-hands, maybe more emphasis on the knuckles will help!
ReplyDeleteCorey,
ReplyDeleteEvery artist has a 'shorthand' they work with when capturing forms quickly for the sake of gesture. With this I have no issues. I think when you fall back on it too much - as all the artists in this class do, from time to time, the nuances of what hands, faces or figures do can get lost.
The first page - where you're really focusing on the hands and the objects they hold - is where I wanted you to place the emphasis. I think the top left corner of the second page has the strongest results but you start to develop more of the upper body of the figure, then more and more in the last page. Stay focused on the hands and really look at how they are articulated. Most importantly, appraoch them in the same way you approach a full-figured gesture. Light and loose, initially, place darker lines in to describe form and points of tension.