High noon happy accident!

About a week ago I was walking into work a bit late and ran into a rugged mean looking cowboy  He had on a black hat, black vest and black villainous mustache.  It was the gesture model John Tucker who most of you know or have heard of on my blog or twitter feed.  

Then moments later a western saloon skirted, high heel boot wearing girl came down the hall and she was very excited to model in the class.  This was Rachel Bailit, one of the most bubbly actress' I know.

I was a bit nervous at first but quickly figured we had a happy accident of having two models pose this day.  Which of course I loved!

One tip I'd like to share about two models in gesture drawing is: Remember the beginning of the sketch is all one big mass shape.  You are definitely trying to capture two different subjects but when you approach the building of the sketch

you want to draw them together as they relate and connect to each other.

Sometimes we start drawing the sketchy gesture lines for only one of two models trying to figure out how they're posed and time is ticking away.  Suddenly the models have moved on and we're left with half a sketch or a ghosty image of the second model that doesn't really allow for a true relationship expressed between the two models.

In the few minutes we give ourselves to get the sketch done we really need to encompass the whole pose in the first few lines of trajectory.  It's not easy!  The challenge is tough but I know that you are passionate and are ready to take it on!  

Here are a few inspired quick sketches I did after noticing that even though these two models never met before- they hit it off like they were old saloon pals.

two minute pose (on twitter I said one minute because I started drawing late into the pose. let's break even at about a minute and a half)

Two minute pose 

Five minute pose

In Meetings

Sometimes I listen better when I clear my mind for a sketch.

Complimentary sign posts

In the latest class I pointed out a sketch to an artist as my favorite one they did.  The artist replied that it's taken so long to get there.  I sympathized and agreed that it does take time.  Luckily we love doing what we do so we can stick to it and continue to learn.

One thing that's incredibly important though is to realize that moment when you've achieved a sketch worthy of a mentor's praise.

The drawing that an instructor points out is the drawing that should jettison you to that next level of focus. 
You must be conscious of the fact that you did something good that is on the right track.  Pay attention to that compliment and treat it as a  "sign post" that leads you to further focused development.  Then ask which way now?   That sketch becomes your new start position and other bad ones fall away. 

Missing that complimentary sign post can leave you aimlessly drawing without focus and hoping that you'll magically get better.  Notice that drawing that's pointed out and follow its guidance.  The best part about this is you actually drew it!

Centerline Box thought

Walt Stanchfield used to really get cranky when our sketches where too straight up and down.  So when I'm teaching (and drawing my own sketches) I try to tell the artist to LEAN the pose, push that hip out, move the pose more left and right etc....

If you imagine a box around the drawing from it's furthest edges you should be able to also imagine a centerline down the middle.  That centerline helps you see if the drawing is too straight up and down.  It also helps to keep the work asymmetrical and balanced.

My sketches below show the box that I'm talking about.  I didn't actually draw the box but I was thinking "no straight up and down, no straight up and down!"

Hopefully this works for you because it really helps me to get that LEAN in that Walt talked about.

Forgive the quality of the Iphone pics.

 

Zoo "People"

I recently went to the zoo and it was so hot the animals were nowhere to be seen.  I decided to sketch the other animals walking around.  I always end up drawing the people at the zoo because I find them to be an interesting lot.
These sketches were done fairly quickly and I started using a large sketchbook(9x11) and Copic marker!

Gaze 

No Souvenir

Teddybear head

Tough kid with visor

Umbrella haad

"you mean to tell me that those monkeys can't jump over that railing and attack us?"

Taking pic of the flowers

Grandma walking kid 

Guy with camera

Hawaii five old

Holding up the fence

More Storyroom doodles

Story room doodles

just for fun on good ol' paper.

Some SketchKrawl works

Went out to the Grove and had some good drawing time.  Join me on the next Sketchkrawl!

The Drawing Pivot point

I always talk about long lines when it comes to drawing.  Long connective lines and shapes help unify the drawings so that there's a harmony and rhythm to it.

When drawing, a good way to keep those lines and shapes flowing is to pivot from the shoulder.  NOT from the wrist.  Drawing from the wrist limits our ability to get fluidity and movement in your work.  Also  when drawing from the wrist the shapes tend to not connect to each other as they're drawn shape by shape.

Try it next time you're drawing.  Keep your wrist in comfortable position and draw by pivoting from your shoulder.  It may take getting used to but it's totally worth it in the long run.

A New Year

In my recent class I was pretty excited to see so many people wanting to draw!  The class was electric and the students really pushed themselves.  We had two models "Daniella Traub" and "John Tucker" and they had us speeding through ink and paper.

When drawing two models at a time you really want to build the first trajectory lines around both models simultaneously.  If they're drawn seperately time may run out on the pose and then we're left with half the drawing done.

I likened it to a sculpture who may see the two character pose in a large chunk of marble.  The sculpture sees into the stone and carves out the two characters simultaneously.  I wouldn't think that they'd completely carve one model leaving the rest of the marble in tact.

There's a relationship happening when there are more than one model or person on the street that you're sketching.  An electricity that goes between the two (Or more) subjects that we need to notice and capture in our work.That's the spark of life and interaction that we are trying to catch.  Some of my favorite art has this storytelling in it and draws us in. It can be anything to illicit an emotion- a coy look, a smile back and forth or one chasing another. 

Here's to a new year of lots sketching!

Last class of the year!

Marissa Gomez was here! Last class at DW till mid January.  Keep up the sketchbooks between now and then!!!