Can I Be An Artist?

The narrative I've always heard around art, and drawing in particular, is that it's hard. Some people are just naturally good at it, and some aren't. I felt like the odds weren't in my favor that I was naturally an artist, and it would be an uphill climb to find out if I had potential. Even still, on a whim I signed up for a figure drawing course. I expected to fall short, but I was ok with that risk.

Starting out, we focused on simplifying. Really, that was the essence of the entire class - reducing the undeniably complex figure to simpler shapes and then revising that.

"Drawing is a series of corrections"
-Jon deMartin

And so, starting with a line for the gesture, we continually made corrections. First, we laid out boundaries: top and bottom, left and right. These serve as the basis for proportions. With the realist, atelier style of drawing I studied, the goal was to use an upright easel and transfer the model directly on to the paper. It's not easy, but it already felt more accessible.

The Particulars of Drawing a Figure

After determining the general size and gesture, the next step was to lay in the landmarks to judge the proportions. First are the shoulders, then the waist. Using two thin, straight sticks at a perpendicular angle, I used my thumb to mark the bottom of the figure, when the top of the stick was at the top of the figure. The perpendicular stick could then be used to find the proportion of the waist. Switching back to the drawing, I could align the top of the vertical stick with the top of the figure, and my thumb with the bottom, and determine if the shoulders and waist in my drawing were placed proportionally. Measuring the width in the same fashion, I could confirm (and correct) my overall proportions. From here, with both gestures in shorter poses, and with longer (20+ minute) poses, I proceeded to "block in" the figure. It can be tempting to focus on details, but using lines to average out the figure directionally proves less overwhelming in the long run.

I noticed often, unsurprisingly, that I would get "off" or feel lost. But focusing on the methodology, I was able to regain my footing and continue making corrections. Effectively blocking in the figure consists of reaching smaller and smaller averages, always using straight lines. Eventually, the figure begins to show motion and no longer seems stiff and rigid.

What Now?

Next, it's time to add in shadow shapes. Using the same technique of straight lines averaging angles, the general areas of shadow are marked. Once all are marked, they can be shaded, then stumped. The shadows range from half-tone on the light edge of the shadow, to form shadows on places facing away from the light, to the terminator between light and dark, and finally the cast shadow where the light is blocked by another object.

After marking the dark sections, the highlights can be laid in. First, the darkest: the mid-light. Then, the low-light, and finally the high-lights. These each use straight lines that are revised again and again. At this point, the figure begins to take on depth. Nonetheless, especially where foreshortening is involved, it's reducing the figure to angles that proves the most helpful.

Where Do I Go From Here?

At the end of the class, I don't feel like I'm a confident artist, but I do have the tools not to feel so ovewhelmed. As with many things, patience is key. With art in particular, self-acceptance is also important. Emotions can quickly arise and lead to thoughts like "Why am I doing this? I'm not talented." But going back to the tools and techniques, you realize the drawing is there, it simply needs to be refined.

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