Static poses

 These drawings are all of static poses, that show no dynamism or movement whatsoever. The drawing on the left was made using charcoal, The artist has used charcoal to add shadows around the legs that gives quite a lot of tonal value, the shadow gives the impression of 3 dimensions. The shadowing has also been used to outline the anatomy of the female model, the neck and the outline of her deltoid muscle has been nicely outlined. The proportions in this image aren't the best and could have been improved, her head, foot and hands are too small. However the rest of the model is quite nicely proportioned.

This drawing was made using graphite pencil. The artist has used the graphite quite effectively on the cloth at the bottom of the image, he has given the folds of the cloth quite a nice form and depth with the lines and shading. The anatomy of the model is very nicely proportioned and detailed, it has a good use of foreshortening towards the models head and face and the arm laid on top of her body.

 This drawing was made using charcoal and is of a woman sat down with her back towards the artist. The female models head is poorly proportioned in comparison to her body, it should be enlarged. However the anatomy of the body has accuracy, especially towards the models bottom, the artist has drawn it so it looks like all her weight is balanced there, the shading further enforces this and adds depth. The folds on the cloth and the shadowing has been very nicely done, it adds a lot of form to the cloth. The artist has also used a putty rubber around the edge of the table that the model is sat upon. This gives the impression of the edge of the table and that the cloth starts to fall to the floor.

This is an image of a man stood up, drawn in graphite pencil. The proportions in the image have been drawn reasonably well, the head should be a tiny bit larger but overall it is good. The anatomy is also reasonably accurate with the back muscles and bottom. The shading in this is pretty lacklustre, it does not really add any kind of form and adds only a tiny bit of depth with the left arm.

Contemporary architecture

 The drawing above was drawn using graphic markers at the National Media Museum. The artist used the graphic markers to create a nice even tonal value, using different strengths of ink from light to dark. I think this has been achieved due to the picture having a nice even spread of tones scattered across the page. The artist has managed to represent the shadows underneath and around the bench quite well, and has drawn the differing strengths of the shadows which adds a greater tonal value. The artist has also used plan type lines to indicate where the panels start and end on the wall and bench, this adds depth because it reinforces where the shadows start and stop, for example on the middle of the bench, as the bench curves down the wall the little lit where the wood panels connects, stops the shadow. The image has a good contrast because it has light, dark and no shadows over the entire page.

This drawing is a graphic marker pen drawing that was drawn in the National Media Museum. The artist has tried to used the differing shadow strengths to give the appearance of glass and windows supported by the pillars. The angles in this drawing on the pillars are good. you can tell that there is a curve in the window wall just by looking at how the pillars curve in correspondence to each other, however the windows themselves haven't been drawn with the correct foreshortening needed. The windows should be getting smaller and closer together the further away they are, towards the far pillar.

Classical interiors

This is a conté crayon drawing that was done using mostly the long edge. The artist has managed to draw this pillar effectively using the long edge of the crayon, he has managed to get the proportions perfect, along with the angles of the ledges. All of them follow the same angle. The shading that he has used is very effective because it adds a lot of tonal value and depth to the image, the viewer can easily tell that the image is 3 dimensional. The contrast of the tone is also very nice, because the pillars at the bottom are very light and alternatively the ledges just above them are quite dark, this gives the impression that the ledges are very high up and are avoiding the light. The proportions of the detailed sculptures at the top of the pillars is also nicely drawn due to the fact that the angles they are drawn at look near perfect, it looks 3 dimensional and none of them look like they are stuck out at awkward angles, they are following the pattern of the sculpture.

This is another conté crayon drawing using a mixture of long and short edge to try and capture the classical interior of the Cartwright Hall. The artist has managed to get great shadow and tonal values in this image, the shadows underneath the balcony and underneath the archways underneath it make the image have a lot of depth. It has a great 3 dimensional feel. The angles of most of the lines on the walls and pillars follow the same general direction, which makes the perspective of this drawing better than a straight, head on view. The composition uses rule of thirds to get the balcony, one of the main focal points, inside the rule of thirds to make it stand out. From this focal point there are implied lines that lead the eye around the image. from the balcony to the pillars, down from them to the lower pillars then across the drawing underneath the balcony towards the arches.

The drawing on the below is a continuous line drawing done using graphite pencil. The artist decided to draw an archway outside the Cartwright Hall without taking his pencil off of the page. This was quite a successful image  due to the fact that he managed to get a pretty good amount of form within the drawing, the archway is clearly sticks out from the surrounding buildings, he has enforced this by increasing the weight of line around the edges of the archway.

Shadow and Tonal value

This is a conté crayon drawing of a statue of an elephant and men inside the Royal Armouries. The artists main goal was to put emphasis on shadow and tonal values within this drawing. The shadows on the elephants cushions, carpet and ropes are really well done, it gives a great sense of 3 dimensions. It has a great tonal value which really gives the cushions a good form. There is a good use of foreshortening on the windows and the ceiling lights too, it has great proportions. The elephant and men have good proportions in comparison to each other, and have a good tonal values. The shadow on the mans elbow who is aiming the gun, clearly shows that his arm is bent towards the artist and isn't just a really small arm. The elephants hind leg also has good shadow and tonal values underneath and around the skin and the carpet/rug it really adds a great depth to the image. There is a mistake within this image however, the man that is reloading his gun seems to be transparent. This is because he is the same colour as the wall behind him. This could be improved by use of a putty rubber to add highlights to his clothes, just to make the man more of a focal point.

scenic composition

This is a graphite pencil drawing the artist has attempted to draw a scenic composition. He has tried to add depth, line and value to increase the quality of the drawing. The artist has successfully added depth to his drawings due to the shadow and the bottom of the page that goes down the hills. Because the shadow looks like it is lying over multiple hills and humps it makes the trees and buildings in the background seem further away. There is a strong sense of implied lines in this drawing, the shadows at the bottom of the page leads the eye over it quite jaggedly, up and down the bumps on the ground, then along the strong line that leads to the building. The value in this image is excellent, the artist has managed to create areas of darkness and light around the entire drawings, darkness over the hills and underneath the trees, and the building and surrounding areas are surrounded by light, this is represented because there is virtually no shading on the building. It is a shame that the drawing has got some other material that has rubbed off onto the drawing.

Perspective of curves

Here the artist has tried to capture the human eyes perspective of curves within his drawing. He has achieved it reasonably well due to the curves being foreshortened effectively. His use of angles shows clearly that the objects drawn are curved, this is enforced further by the contour lines of the shading. it gives the objects a good looking form. The artist has enhanced the drawing by adding the building in the background and supports at the front, with the addition of these lines it draws the eye around the image. The shading on the supports at the bottom of the page has been contoured quite nicely, it shows that they are poles and are also curved but have nice strong lines. The drawing could be improved by finishing the drawing behind the support poles at the bottom of the building, if there were windows or doors or walls there it would have made it seem like the supports went underneath the curves, like an overhang.

angles in architecture

The artist has drawn this architecture picture to highlight the angles used on this building. This drawing has used foreshortening to quite a good degree on the windows and the edges of the building.Its horizon line has been planned on the top of the short, entrance type building on the right side of the page, the roof of it has got a strong, heavy line which indicates the horizon line goes along that point and the orthogonal lines are angled on the roof of the building and the top of the fence to meet on the horizon line at the vanishing point. Rule of thirds are use to a tiny degree in this picture. The windows on the building and the fence on the right side and the steps and window shutters on the left side are all inside the rule of thirds and is balanced nicely. There are a lot of strong lines within this drawing that lead the viewers eye around the image, a high concentration of them on the right side. Unfortunately this drawing has pretty bad balance and contrast, due to most of the detail being on the right side of the image and on the left it has been left quite bare.

non-human anatomy

 The artist has drawn some non-human anatomy in this post and has attempted to use the same techniques used in figure drawing, on non-human figures. The picture on the left is of an eagle that is perched on a branch. The artist has got good form and proportion of the eagle, nothing looks oversized or too small. You can see the folds of the eagles feathers as it twists its head to look to the side, this is a good representation of non-human anatomy because it shows how the eagles neck works as it turns. The artist has tried to give the impression of feathers by using the long edge of a graphite stick, this worked to some degree but could have been used with a bit more precision to imitate an eagles feathers, the strokes look scattered around the eagle and not in order.

 Here is a picture that the artist has drawn of a panda. He has used the long edge of a conté crayon to add depth and shadows to the panda to make it seem 3 dimensional. The anatomy of the panda is quite accurate, the artist has managed to capture the proportions of the head in comparison to the body quite well. With the use of foreshortening the artist has managed to make the pandas back legs look further away than the front, he has achieved that well. With the use of the conté crayon he has managed to conceal a mistake too. There is no gap in between the pandas left legs, so he shaded it in to give the appearance of shadow and to conceal the mistake that was made, and it works okay.

There are two drawings on this page, one of a bat and one of a tree climbing porcupine. The anatomy of the bad has been drawn okay. The wings have been drawn nicely and have good proportions to the body. The shading that the artist has done on the far wing, the bats left, adds a lot of tonal value. It darkens the closer it is to the bone and shows that it is like a kite, and it is flown on. The body however lacks a lot of detail.

The second drawing is of a tree climbing porcupine. The anatomy of it has been accurately drawn and clearly shows the arch of the back and the proportions of the body and head look accurate. The spines on its body has been done well because the strokes of the graphite stick have directional values that shows how the spines on the porcupine grows and what it looks like in real life. if the graphite strokes weren't directional along the body it would have a much more bizarre appearance.

movement

  In this drawing the artist has tried to create movement by drawing multiple drawings over the top of one another of different poses that the model did, while keeping his feet and legs in the same place. In the drawing you can see that the model was moving about quite a lot and it looks like he was stretching. The anatomy in this drawing is quite accurate due to the contracting of muscles when the stretch was at its peak. The artist should have drawn in landscape rather than portrait however so that the drawings wouldn't be cut off at the top.

Here is another drawing of movement that the artist has done, this time however the model kept his chest and arms in the same place and just moved his legs. The artist has shown the leg movement very well, you can see each different pose clearly and the anatomy of the legs are defined well and are represented accurately. It clearly shows that his legs have been moving and dynamic. The weight of line used for some of the poses, to make them darker, helps outline them as key poses or increases their importance.

Anatomy

 Here the artist has drawn detailed anatomy and tried to give the impression of movement in his drawings. On the left is a drawing of a leg that shows the anatomy of the leg reasonably well. The proportion of the leg is well drawn but the foot however is a bit small, this takes away from the image because the foot doesn't look like it belongs on that leg. If the foot was the correct proportion in relation to the leg it would look natural. The musculature of the leg has been defined quite well which adds a sense of 3 dimensions. The pencil strokes that show the shadows of the leg have all been done in the same direction. If the strokes were made in the shape of the leg, curving around the muscles of the upper and lower leg it would have made the leg look more curved.

 The artist has drawn an in-depth drawing of a human arm, the anatomy in this picture is well drawn and clearly shows the pose of the arm and where the muscles are contracted. The shading has added a great sense of 3 dimensions due to the weight of line where the shadows were stronger underneath the muscles and around the crook of the elbow.

In this picture the artist has drawn a model that is sat down, turning around to look behind her. The anatomy on this drawing is very good, the artist has shown the twist of the models body very well by adding the angles of the models shoulders at a downwards angle. The right side of the models back has been accurately drawn, the lines on her back shows that she is physically twisting and reaching behind her to turn around. Furthermore the shading that has been lightly spread across the drawing adds great depth to the image because it is stronger the closer the model is to the artist, as if she is turning away from the light.

Balance, Weight and Dynamism

 Here the artist has tried to draw models doing poses that emphasise the use of balance, weight and dynamism in static poses. In the top picture on the left it shows the model is sitting upright while leaning on his right arm. The artist has shown this quite well due to the angle of the models body slightly turned and twisted towards the right. The weight of his body is shown on his arm due to the anatomy of his right shoulder muscle, being defined much more than the left, the artist has used a weight of line to give the impression that the muscles in his shoulder are tensed on the right and relaxed on the left. Within the picture the artist has also added cast shadows which brings depth into the image. This picture has given the impression of weight and balance quite well.

 With this picture that the artist has drawn of the model balancing upright while holding onto a pole. The model has all of his weight on his arms and shoulders and to a lesser degree, his legs. To show this the artist has shown the anatomy of the model quite well by defining his arm and leg muscles. There is a good use of foreshortening on the models right arm this gives the picture a lot more depth and outlines the angle at which the model was holding the pole.

Here the artist has drawn a model with his hands on a table or object to keep themselves upright. The anatomy shown in the muscles of the arms and the back muscles have been very nicely toned and defined. This gives the impression of weight and balance that is being put on the models upper body. It is unfortunate that the artist didn't finish this drawing, adding hands to it would have added a lot more to the drawing overall.

In this picture the model is sat down leaning back on both of his hands, balancing themselves up. The artist has managed to define the arms and the back muscles of the model well to show weight and balance. The shadow that has been shaded onto the model also adds a lot of depth to the image because it defines those muscles even more.

Emotion in posture and pose

These figure drawings that this artist has drawn has tried to give the impression of emotions in the models poses and postures. A few of the postures that the model is doing have hunched shoulders, this gives the impression of sadness or fear, due to the model trying to enclose themselves in a ball and escape or hide. On the other hand some different postures that the model did puffs the chest out and have the arms open. This gives the impression of joy and happiness, as if they're accepting freedom and breaking free of restraints.
 Balance is important in these poses because it shows where the models body mass is centred and where pressure is put on the body. Balance is essential for showing certain poses like shock. In the drawing that the artist has drawn it clearly shows the weight is focused on the back leg as if she stepped back in shock. Gestures in poses and postures help show emotion incredibly well, in the drawing that the artist has done of curiosity it shows the model seemingly stepping forward with her head cocked, as if peering around a corner or over something. Similarly with the stress drawing the model has her hands on her head as if having some sort of breakdown. These gestures greatly improve the drawings because the viewer can make out what the drawing is trying to show.