![]() They are the foundation and containers for the features and without them the features float within the head-shape. The features are important as well, but not the most important of all the shapes we are in search of, the landmarks of the skull are more concerning. They are much easier to place because the perspective of the skull has been secured and firmly established through the articulation of the landmarks throughout the skull shape. The final set of shapes we place in the image are the boundaries for the features. Instead of just the outer boundary, the forward protruding skeletal structure is the next contained set of shapes we visually identify with. The next set of shapes are structural, designed into the skeletal system, in this case, the internal structure of the skeleton. We recognize someone we might know from far away we do not need these minute details to recognize who they are. The primary shapes that help us are boundary shapes, bony landmarks, and hair growth patterns, or more shapes. One misunderstanding for so many is thinking that the features are what constitute the likeness of someone when that is a secondary, possibly tertiary element of importance. ![]() One of the biggest luxuries of life drawing training is the ability to move anywhere at any time around the model in the viewing perimeter to resolve shape and form issues that cannot be easily interpreted from the view the artist has taken. During this time of training, while we do not really have life drawing at our disposal, we will have to mostly rely upon photography to help us with our training. It is the gauge for which we judge the academic basics and how to course correct them for each individual. Likeness is a marker that we hope to achieve great success with quickly in art school.
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