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ary 15 2010 gesture drawing quick 10 minute gesture drawing from founder darwin leon with the idea of solving the most immediate critical aspects and making fast decisions when drawing the figure such as basic foundation prediction composition shapes and forms proportions angles levels perspective line definitions pre lights and shadows w ith this gesture drawing exercise the artist is forced to spend more time observing the figure don t forget to join us at http www facebook com pages figure drawing and painting the figure network 124998807532934 posted by thefigurenetwork at 3 54 pm 5 comments saturday september 5 2009 is never too late to go back to the basics video a figure art revolution in the 21st century drawings and paintings by founder of the figure network darwin leon don t forget to join the figure network in facebook at http www facebook com pages terra ceia fl figure drawing and painting the figure network 89787403008 www thefigurenetwork com www darwinleon com posted by thefigurenetwork at 3 50 pm no comments labels contemporary drawing erotic expressionism figurative figure drawing modern art nude painting portraits surrealism sunday july 19 2009 the power of gesture sketch drawing and improvisation in the creative process using the dynamic figure it is sometimes difficult for the contemporary fine artist to make de cisions on what to draw o r paint in these times of mass artists technology and art conflicts with th e inv ention of photography centuries ago and the current contempora ry digital art rev olution it becomes even m o re dif ficult for the modern fine arti st to have some recognition in the art world i always say dra wi ng is t he key to the many do o rs and portals that wi ll lead y ou to good paintings an d own voice no ma tte r what kind of style you ap proach it is a slow and secure process and as any famous artist in history influences play an important role in t his p ro cess sometimes we ar e afr aid drawing f ro m our head and we spe nd a lifetime drawing from pure reference and a s i mentioned earlier with the ar rival of technology and digital art fine art drawings and paintings done from pre established reference will become more and more less original in the art w orld which i consider a very unhe althy a pproach for the future of the art s drawing a nd painting remind us that we are not perfect as humans no matter how much we o r we ll evolution ate in the upcomin g genera tio ns of our c ivilization i invite you to draw more an d more a nd i m provise no matte r ho w it comes out by a ctivatin g your creative process you ll enter new horiz ons in the realm of you r imagination yo ur wor k will become more original and pure with these exercises and will hel p to keep a solid future fo r the creative fi n e artist here are some drawings that i cre ated in a short period of time with the intention of co ntr ast this idea p reviously mentioned also in here are some previo us reference lin ks from th e blog that will give you a more clear understanding http thefigurenetw ork blogspot com 2009 03 effect i veness of g estu re draw ing and html http thefigurenetwork blogspot com 2008 08 m r ms nobody h tm l http thefigurenetwork blogspot com 2 0 08 06 draw anythi ng and ev e r yt hing html don t forget to join the figure network in facebook at http www facebook com pages tampa fl figure drawing and painting the figure network 89787403008 ref nf posted by thefigurenetwork at 10 56 am no comments saturday june 27 2009 drawing as an artistic evolutionary statement using c darwin in steps charles darwin click on image to see all steps enlarged evolution as an art statement the figure network believe in the idea that art should evolve as we approach new times and that we should set an example to the upcoming art generations and of course it should begin with the figure in here i am using charles darwin portrait as a symbolic statement for this purpose in basic drawing steps for basic steps refer back to the power of objective observation don t forget to join the figure network in facebook at http www facebook com pages tampa fl figure drawing and painting the figure network 89787403008 ref nf posted by thefigurenetwork at 4 58 pm 1 comment monday june 1 2009 using alla prima moving into abstract expressionism contemporary portraiture portrait of my wife at age 29 oil on canvas alla prima a painting technique in which a canvas is co mpleted in one session often having a thickly applied impasto as we move into a more creative approach with the figure sometimes it is hard for the contemporary fine artist to find a way to express or align with mod ernism i find alla prima a temporary effective and strong solution as far as the medium is concerned why temporary well it is only my opinion but it could only be sta ge or period in the artist s career to move on this is only an aspect of creativity but a great ice breaker for style development that will open the door to many possibilities in you art alla prima is just like the concept of gesturing with graphite only this time with paint also works great with acrylics in here once you have your under painting applied onto the canvas you can use it effectively for your advantage which could be most of the colors that wi ll be ass ociated with yo ur painting the benefits a strong solid painting style application foundation is the essential benefit of this concept for those fine artist interested on abstraction even non objective this is the exercise for the comprehension of abstract approaches i strongly recommend to review the abstract ex pressionists at the beginning mid of the 20 th century and w hy they did it and their influence in today s art the steps when selecting what to paint specially where the figure is related think about the fact that the more drama you create on your subject the more effective and impacting your p ainting will be choose a subject with high chiaroscuro in other words a subject with high contrast and variety of tones and values after your under painting is ready begin by sketching your drawing foundation straight with your painting brush burnt sienna or other dark earth color associated with the skin d on t worry about corre ctions at this point feel free to build multiple lines with your brush you ll correct later as you paint remember with this concept it is our goal to have any pa inting done in one session wet on wet the technique is forcing you to paint fast with a constant loose rhythm intense brush strokes and fast decision making begin by building your basic color strokes foundation starting with your darkest values using the value next to value technique refer to principles in painting basic realism since we are not blending the painting should have a painterly effect recommended colors and hues burnt sienna dark and middle tones flesh tint middle and light tones naples yellow light tones yellow ocher transitional value in between tones permanent alizarin crimson red dark tones moving into expressionism as we approach some of the final approaches with this technique you must think about how far you want to take an approach like this one in here the creative process and improvisation takes place after all your value next to value foundation it is time to make some decisions on color application you can choose any colors you want as long as they are well executed and also you are still playing with traditional color language such as warm cool concept the key for a good color execution is your control over color harmony or color distribution it is really up to you how far you want to go with this technique or how abstract you want to go don t abuse the color you should know at which point you must stop don t over due the color color harmony or distribution is accomplished by the understanding and ability to establish foreground background relationship where the color is concerned see the impressionists posted by thefigurenetwork at 7 15 pm no comments thursday may 7 2009 get the best out of your contemporary portrait with a classical approach using an effective drawing economy portrait of a model click on image to view steps pencil on paper tonal cross contour technique for technical text steps refer back to the power of objective observation suggestion and economy in drawing the portrait here is a quick recap composition prediction light gesture drawing no erasing shapes levels and angles location target point association distances correction erasing line definition heavier lines basic shading foundation contrast details www thefigurenetwork com posted by thefigurenetwork at 8 53 pm no comments monday march 2 2009 the effectiveness of gesture drawing and the power of improvisation by darwin leon part 1 gesture drawing or suggestion in drawing is definitely one of the most powerful t ools you will ever use in your lifetime as a fi ne artist specially when drawing the figure what is gesture drawing this is the process of drawing quick lightly without erasing with a constant movement and focused on the subject the concept of gesturing is the idea of capturing in a suggestive way a sketch of what the brain has already seen i strongly recommend this exercise in any art class in the planet and in any subject technique or style i must say this technique is universal and a lways wo rks i personally have found this approach of incredible benefit and developmental in my personal work for years now for any contemporary fine artist the idea of suggesting in drawing is a powerful effective and timeless tool what is suggesting suggestive drawing is basical ly capturing a basic main idea of the subject matter in a fast and light sketch drawi ng the benefits of gesture and suggestive drawi ng we can almost safely say that these two are totally related when you are doing a gesture drawing you are basically suggesting as any other technique in the arts gesture drawing requires exercise and repetition repetition is the key for this exercise succe ss the benefits and advantages are endless after repeating this exercise for a long time consistently you will notice a general improvement in your drawing skills such as observation composition line quality and proportions since you are drawing fast the circumstances are forcing you to spend more time observing with deep concentration at the subject obsessively with a very objective approach gesture drawing should be u sed in any situation and any subject matter even when painting y our initial basic foundation must be done in a gest ure drawing this will save you a lot of time you will create better compositions and it will become more productive gesture drawing is great for figure studies and anatomy as well as sketching on site such as landscapes scenes and still life it is also great for decision making when drawing and a great builder of confidence as times passes see draw anything and everything your line definition will i mprove dramatic ally and your observation skills will step another level you must become visually obsessive with your subject matter when gesture drawing also you must read every single contour line of the figure and feel it deeply in your eyes until it reaches your mind solid ly gesture drawing is the direct objective connection of brain subject matter when gesture drawing feel free to build multiple lines as you draw in here you are mapping or brainstorming in the process of multiple lines draw very loose don t waste your time trying to erase it is not the point at this time also don t concent rate in one area for a long time the concept of drawing fast with multiple non heavy lines will give you the flexibility of correcting as you go build lines even for the angles in this way you are already positioni ng your figure in the right places angles and distances for example quickly draw a line to position the level position of the shoulders or clavicles and note from your point of view which one is lower and which one is higher same for the hip bones feet angles and distance and center line for the torso upper body eventually your lines will evolve and you will discover more lines that will help you in the angles and positioning process eventually drawing will become more fun instead of an issue adding shapes to your gesture drawing the improvisation process i strongly recommend t o get into the habit of building shapes when gesture drawing think shapes in here you wanna get creative gest ure drawing and shapes must be married the effect of shapes in your suggestive drawing creates a very positive result instead of always building just lines to achieve line contours you want t o combine it w ith shapes these abstract shapes could be from an oval circle rectangle triangle etc and the shapes must be asso ciated with the actual forms that you are visually experiencing at the moment shaping could also be called massing this is an extraordinary tool for placement association and positioning along with your lines the shaping process will give you a better idea of what to loo k for not only for the human figure this applies but for anything that you see in nature like a simple apple again this is a repetitive process it takes some times until you control these shapes in combination with y ou gesture lines in here you are impr ovising it is really up to you how far you wanna go with this shapes the more shapes the more structured you r figure will be and when the time comes to correct you already have a very strong basic foundation to work from remember there is no way to correct if you don t h ave something shape s applies for everything and it is a great composition detector when you have a figure or more than one or multiple complex compositions there is the overall shape this is visualizing and thinking big the over all shape will give you the illusion of an abstract shape that encloses all the figures into one composition for instance some figures resembles the geometric shape of a triangle like the one showed in this post here is a general basic hint list of what parts and muscles to look when gesturing suggesting and massing head forehead eye cavities nasal bone mouth chi n high low cheek ears jaw upper back skull neck sternocleid omastoid shoulders deltoids clavicles trapezius chest pectoralis major sternum abs rectus abdominus love handles external oblique arms biceps triceps forearm extensors and flexors forehand fingers side body serratus anterior latissimus dorsi pelvic area hip bones visible gluteus medius upper legs adductors of thigh rectus femoris vastus medialis vastul externa l or lateralis femur bone knee patela lower legs gastrocnemius soleus peroneous tibia bone feet ankle heel arch ball of foot instep toes upper back torso trapezius infraspinatus teres minor major l atissimus dorsi lumbar area external oblique deltoid g luteus medius maximus posted by thefigurenetwork at 9 54 pm 2 comments older posts home 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