Studio Mysteries

September 11, 2009

Big-ass Drawing, Progress Report

Filed under: Drawing, Values — Tags: , , , — Anya Galkina - Studio Mysteries @ 6:40 am

bigass_Drawing_state1

bigass_Drawing_state2

Working like a fiend on my death-by-drawing drawing. Spot the differences: top image is from my previous update, second image is from this afternoon. I feel like I’ve made miles and miles of progress, but on comparison, if anything, the second image seems more busy and scattered than the first. Which would be the opposite of my objective.

Now, where’d I put that drink?

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4 Comments »

  1. When cutting hair I use the mirror reflection to feed me a wealth of information about the angles and overall shape of the cut – also stand way back to check it – same for my drawing; check it in the mirror and from a distance.

    Similarly, viewing your work on the computer is a handy tool, allowing you to stand away and view it with a fresh eye. I’m sure you’ll feel differently about it after a good sleep – working closely on a large drawing can mess with your focus.

    The differences between the two images is clear – it’s more layered and richer – you can tell what some of the people are thinking now. The dog is convinced that everyone has gathered to sit at her paws and pay her tribute. The balloons are a nice touch and I like the way the shy little boy is trying to disappear but is too interested in the person peering at the picture.

    The main thing for me is that it is a picture that I can happily look at for a long time and wonder about each person, what the occasion could be, whether that chicken leg is tasty, what they’ll do or say when they drop their pose…I don’t tire of it.

    So before this comment requires a blog of it’s own, on the technical side could you not show it to your tutor, Rick Morris and ask him to what he thinks?

    Comment by InkSplodge! — September 11, 2009 @ 1:22 pm

  2. I think I know what he would say – there is a lot of light shapes against darker surroundings, and they are all fighting for attention. So I need to darken a lot of them and let them sit back in order to bring focus to the chicken leg dude, the little baby and the girl behind him.

    It’s amazing how much of working with value is about suppressing intensity and information, so that the intense bits can have the dance floor to be intense in. I’ll never cease to be amazed by this – seems like my natural impulse is to add information, not take it out. Well, I am the artist who can’t do an image of just one figure cause that’s way too boring!

    Comment by Anya Galkina - Studio Mysteries — September 11, 2009 @ 7:20 pm

  3. I like this big ass drawing. My eye fights to go down to that right hand corner to that white thing the lady is holding on her lap in the lower right hand corner. It wants to go back and forth to the dog and that. Does that help a little? I find both the boy peeking around the balloon and the lady and the dog the most interesting and making me think of all sorts of stories about their character. I’m wondering if an s curve composition flowing from dog lady through the chicken-leg guy and curving through the boy-balloon aspect to the lady’s lap might be a way to go and fuzzing the rest (not eliminating them). I love it however you decide to finish it. I can’t imagine a drawing this large and you RULE!

    Comment by lesliepaints — September 12, 2009 @ 2:39 am

  4. Ooh! I love the S-curve suggestion. Thank you, lesliepaints! (Which I often misread as lesliepants 😀 )

    Comment by Spatula — September 12, 2009 @ 4:33 am


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