TAILIEUCHUNG - Figure Drawing Without A Model - Drawing on the Inmagination

Tài liệu tham khảo bằng tiếng Anh về nghệ thuật hội họa - Figure Drawing Without A Model - Drawing on the Inmagination | s r V CHAPTER 5 DRAWING ON THE IMAGINATION When you have had some experience in drawing the human figure from life and have assimilated the basic information about the body s structure and operation the prospect of creating imaginative figure drawings without a model becomes far less daunting. A great amount of information about human anatomy and movement is learned in the process of drawing the posed studio model and from sketching people as they go about their daily lives but this is not the sole purpose of such exercises. Knowledge gained in this way is absorbed at an intuitive level and as such contributes to the stock of experience available to feed your imagination and give scope to the expressive possibilities of your work. The human form is so subtle its range of movement This drawing is based on a field sketch by Melton Prior war reporter for The Illustrated London News at the battle of Tel-el-Kebir. so wide and its expressiveness so profound that no artist can claim to have explored all its vast potential. Drawing from life keeps your mind open and liberates your imagination. If your work is to remain honest and alive and free from slick clichés you must return constantly to observed studies and sketches. That having been said it is now time to look at approaches to drawing from memory and imagination. 87 FIGURE DRAWING WITHOUT A MODEL Above It s difficult to believe that this crass nonsense was ever seriously put forward as a drawing method but put forward it was Reproduced from A. A. Braun s The Hieroglypic Method of Life Drawing 1916 . Below Arthur Zaidenberg s method of figure drawing involved flat geometric shapes for the torso with no conception of the figure as a solid three-dimensional form in space. Experienced artists are not generally conscious of working in stages from first concept to finished picture. It is only when faced with the problem of teaching their craft that the question of procedure comes up. You have an image in mind and a number

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