Corey, I've noticed you have a drawing approach that places emphasis on the development of the form through distinct shapes. While this isn't necessarily a bad approach, for these types of drawings and too emphasize the figure in motion, try thinking in terms of LINES - not SHAPES. It's not necessary to close a line. Thin of the line of rhythm that the dancer has - place it as your first light line - then start to lightly develop the form. Be more elegant when making lines that indicate the transition from the shoulder to the elbow to the wrist, as well as the thigh to knee to calf to ankle and foot. Also, look to even more dynamic poses - ones while the dancer is completely in the air, for instance.
Corey,
ReplyDeleteI've noticed you have a drawing approach that places emphasis on the development of the form through distinct shapes. While this isn't necessarily a bad approach, for these types of drawings and too emphasize the figure in motion, try thinking in terms of LINES - not SHAPES. It's not necessary to close a line. Thin of the line of rhythm that the dancer has - place it as your first light line - then start to lightly develop the form. Be more elegant when making lines that indicate the transition from the shoulder to the elbow to the wrist, as well as the thigh to knee to calf to ankle and foot. Also, look to even more dynamic poses - ones while the dancer is completely in the air, for instance.