Transcript Gesture Drawing painting

Gesture
Drawing
Objective: You will sketch figures in action
poses in order to learn how to draw a gesture.
DRILL:
1. Get a marker, crayon, oil pastel, and/ or paint.
Get a piece of large newsprint from front desk.
2. What is a gesture drawing?
A gesture is a quick sketch of a figure in
motion.
Gesture drawing can exist on two levels - action drawing, and gesture
drawing. Both involve the principle of movement. However, action
drawing deals with physical movement; and gesture drawing
involves not only physical movement, but a deeper concept of
essential identity, as well.
Use lines for bones, circles for joints
Gesture Drawing
1. Body with lines and shapes.
Straight pose.
2. 4 1 minute poses in action
3. 4 2 minutes poses showing an emotion or
expressing a mood. Use color and quick lines.
4. 2 people ~ 5 minutes. Emotion/ Action
5. Create a background that shows a mood like
the emotionalism spread. Draw a figure on it
using gesture. (or cut out one or two yours
from today’s lesson)
Gesture Drawing:
Gesture drawing is related to action drawing, but it goes further. I see the
idea of gesture as the essential character of a figure or object, a kind-of
eastern philosophy viewpoint. That is, everything has a gesture. As
Nicolaides wrote, "Everything has a gesture - even a pencil." On the
physical level, the pencil's gesture is a "shooting" straight line, very
quick. That physical movement has an intangible counterpart - its
essence - its movement identity, personality, or essence.
• When you strive to capture the essence of an object or person, your art
will start to be on a deeper level than mere appearances. Another
example of this notion is the idea of a ribbon tied into a bow. When you
do a drawing of what the bow looks like, you will get just that - its
appearance. But when you do a gesture drawing of the bow, you will get
what the bow is DOING, its action. Your line will move, stop and go very
quickly, around, up and down, getting the FEEL of the figure in real or
perceived movement. Don't look much at your paper - just keep looking
at what you are drawing, and work very quickly, trying to find the axis, or
essence, as quickly as possible. Draw figures and animals, and different
types of objects, such as flowers, shoes, and trees.
• Marty tells about her work
My visual work is my way of speaking. My
way of being in the world. My source is
desire. Longing for gestures I have not
previously made. Gestures that speak
about how I look at the world from my
reality. I am talking about the living world in
its loneliness. Its separateness. In its being
different. Without land, without origin.
Suffering. Loving. Vulnerable, yet grand:
strange! That mystery I want to show.
• The beauty of nature and the relationship
between humans and animals are to me an
endless source of inspiration. I work from a
non- thoughtful flow of lines and gestures. A
game where I surrender to a kind of inner
music. All images are notes of the same
music which cannot exist without each
other.
• I myself am the outsider. The observer. The
spectator who intuitively registers the things
that hit me emotionally and are existential
for me. As an artist I try to get a grip on that
reality.
First, action drawing: This exercise works best with figures or animals. You are
essentially trying to capture the action the figure is performing. Once again,
a likeness or correct proportions are not important in this exercise, nor is the
exercise meant to result in a finished drawing. This is an exercise to get you
to learn to identify the action the figure is doing, with his/her body. Individual
body parts are not important here - only the curve or direction of the main
bodily movement. You are not capturing what the figure or object looks
like, but what it is doing. In fact, you are looking at the figure as a form in
space, not as a person or animal. You are seeking what the form itself is
doing. Try to FEEL the line of movement, the fullness of the curves.