Arm and Hand Bone Sketches
Prismatic Sketches of Hands and Faces by Lui Ferreyra Write Up
A focus for realistic forms is the main focus of these pieces, recreating human images with colorful, mostly organic shapes. It’s like a puzzle, where the pieces had to be carefully made to fit together, and the vibrant colors used as shading and highlighting is eye catching.
My only question is how did the artist start the images? Did they get the outline first and fill it in, or did they begin with an inner shape and go from there?
Understanding Comics Chapters 5 & 6 Notes
Chapter 5 shows expression and emotion through comics
Chapter 6 show the correlation between visual arts and literature, and how comics intertwines the two.
Early twentieth century artists began to create the foundations for modern conventions of showing emotion through visuals
Different lines can convey different emotions (page 124-126)
Wavy lines have become commonplace in comics as activators for a variety of different smells or feelings (128&129)
What I want to accomplish through Figure Drawing
I want to get a complete understanding of the human form, as well as obtaining the skills and ability to draw human or human like figures in accurate dynamic poses.
Caricature Ink Copies
-Drawing of Frankenstein dressed as Raoul Duke by Eric Shonborn
Added varying line weights.
Added shading to 1/3 of the image
Drawn over entirely with straight lines.
Hand Gesture Signs
This is Colossal: Mo Ganji Tattoos
Mo Ganji’s single line tattoos show the simplicity of forms and figures in such a way that it could leave you speechless. His use of varying line weights defines the contour of the objects, while also making certain parts of the image have a certain volume in relation to their real-life counterparts, like the tires on the bike being bigger than the actual bike frame. His use of dots not only adds some variety to the image, but are also used as a means for shading certain parts, as well as giving certain details to images, like the freckles on the check of the man.
Stick Figure Drawing Practice
Clean and concise, paper masks can be an extension of their creator. For this project, I took inspiration from the painted skulls of the Hispanic holiday the Day of the Dead, or Dia de los Muertos. They are filled with repeating patterns and turn something that would seem so dark into something light and celebratory. My mask demonstrates the festivity and the history that the painted skulls contains, with it’s own charm to it.
The infrastructure of the mask is slightly rigid, but is sturdy enough to stay together. It fits just fine around my face, the only problem being the jaw piece that is slightly loose from the elastic bands on the inside being worn down from the movement. The nose gave me the most trouble, at first creating a piece for the nose that was too small, then creating a piece that would move up and away from my face. This problem was fixed when I created a new nose piece that fit the whole way and taped it to the cheek portions of the mask.
The outside of the mask is incredibly clean, with exception to the inside of the jaw showing some tape, there are very few marks of pen or pencil, and very little tape is showing. The pieces are consistent in size and are only slightly varied in position. To make the piece stand out more it should have more patterns since it has so much blank space. Due to all of the blank space, the most interesting function is the moving jaw. It was difficult to mold to the jaw on my own, and my beard hair now presses it out, but it can move like the normal bottom half of a mouth, and it goes back up because of the elastic on the inside.
One thing to take from this project is to not be afraid to ask for help, Whether it be someone holding a piece of paper in place for you, or putting tape in place you can barely see. Assistance is a crucial asset sometimes.
The original concept for this image was going to be just the backseat of the chair, emphasizing it being alone since it stands up by itself. But that would have made the piece too small as compared to the massive amount of negative space that is there, even though a lot of negative space was the intention, so the rest of the chair was added. The dark shadows in the front creases contrastingly pop out as the rest of the chair fades slowly into the back, giving the sense of atmospheric perspective. A light tint was added at the top and at the end of the seat for those were the parts with the most direct light, giving the lines higher value.
This project showed me that breaks are very good. I would not have gotten this project done without having a mental breakdown if I didn’t stop, do something else for a little bit, and then go back and rethink the piece. This has also shown me that cloth is very, very hard to draw.
Not the easiest object to draw, but also not the hardest. It doesn’t have incredible detail and is not very complex, put it is not simple. It has It’s own personality to it, not being a flat and plain while also not being complex and hard to understand. Much like a tent, one line with something draped over it.
The black lines contrast the white lines, causing the white lines to almost disappear into the background. The value of the paper at the fold is brighter from the light being closer to that line. The shadows near the paper have sharper lines, and slowly blur out as the paper gets further away from the ground.
The fold is good, wish the fade on the highlight at the top of the fold was smoother, but besides that it gives the impression of a fold. The repeating lines are inconsistent in size, each changing in weight as they go up, and the lines on the other side being bigger or smaller than the ones in front.
Never finish a drawing until you see that everything is in the right place. This is why the lines are inconsistent, there was no multiple checks of how big they were.
Much like the first, these images are all around decent, while having their own problems as well. The proportions on the top two measure up well, however the bottom one seems too long on it’s left side. The side corners on the bottom one could also use some work. The dip from the stand that the hip high image sat on is made visible, as is the folded corner on the shoulder high piece.
The shading on the corners is done well, but could have been used to define the corners better. Though I attempted at atmospheric perspective by using a white pencil, but the highlights got lost. The alternating black and white lines are inconsistent in size.
This exercise showed that you should continuously check the object you are drawing for proportions, relations, and scale before you start drawing, and even while you are drawing.
With the right hand motions and a careful eye, one can recreate objects that are right in front of them through gesture drawing. In the case of this black and white flag, it obtains some of the feeling of the real life counterpart. It has clockwork circles to check and adjust the corners. It has scale, as well as a grid box to keep the size consistent.
The corner at the top of the image could have been brought down more as so it doesn’t look so much as a top down perspective of the flag, or possibly the corner to the right could have been dropped as well. The shading under the front-most corner is decent, it looks better from afar, but as the viewer gets closer they begin to see how the shadow hasn’t blended well. The boundary lines on the white stripes could have been lighter due to the actual white stripes seeming to blend into the ground and become invisible. The black stripes are colored in well enough, but they lack the atmospheric gradient from lighter on the top to darker on the bottom. The image is nice, however it could use a bit of work.
Through this exercise I have come to the understanding that though graphite is messy, it can be consistent, and can blend well throughout the image. It is well-rounded in use, being able to create lighter lines, as well as creating pure shades of black. This has also taught me more than other experiences that gesture drawing takes time and patience. You will not get it right on your first go, you have to assess and adjust multiple times throughout the drawing process until it gives way to the form you will it to be.