I'm pretty sure that the idea of "every choice matters" is going to be hammered into our heads through the entirety of this semester in surface.
And I was looking at Saville's work, specifically the drawings, and noticing how her choices in where she shows detail and where she lets simple line do the work of telling where there is form is very effective. We can feel where the figures is heavy, not only physically in the here-and-now, but over time, in the life of the person. The movement of the arms is not distracting- we can feel the lightness of the past-limbs, and they come clearly from the here-and-now arms. The torso is not overworked, but we believed the unfinished-ness of it is purposeful.
I love figure- it's something that crops up a lot in my work, and I think that at least for a good number of years it is going to feature prominently in what I do. But something that is very easy to do, especially with the figure when you get excited about every inch of it, is to work out every bit, just because you can. And it looks good- there's nothing inherently wrong with it, but I need to start making conscious choices about the mood I'm trying to present, the feelings I get from the model, the pose, the composition, and then translate into how I handle the figure. After all, what's the point of drawing a beautifully-rendered, accurate figure when we have photography? (Besides the point of making studies, which of course is very important.)
That is all.
And I was looking at Saville's work, specifically the drawings, and noticing how her choices in where she shows detail and where she lets simple line do the work of telling where there is form is very effective. We can feel where the figures is heavy, not only physically in the here-and-now, but over time, in the life of the person. The movement of the arms is not distracting- we can feel the lightness of the past-limbs, and they come clearly from the here-and-now arms. The torso is not overworked, but we believed the unfinished-ness of it is purposeful.
I love figure- it's something that crops up a lot in my work, and I think that at least for a good number of years it is going to feature prominently in what I do. But something that is very easy to do, especially with the figure when you get excited about every inch of it, is to work out every bit, just because you can. And it looks good- there's nothing inherently wrong with it, but I need to start making conscious choices about the mood I'm trying to present, the feelings I get from the model, the pose, the composition, and then translate into how I handle the figure. After all, what's the point of drawing a beautifully-rendered, accurate figure when we have photography? (Besides the point of making studies, which of course is very important.)
That is all.
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