I had the same view this week at the Atelier (extreme foreshortening!) -
This week, I brought a 'cheat' - a quartered plastic sheet clipped onto a frame that you can 'trace' the image in front of you with a dry erase marker (a la Betty Edwards - Drawing on the Right Side of the Brain).
I'd kind of forgotten about this tool - haven't used one for years (but I also try hard to not ever draw anything that foreshortened from life if I can help it!)
Hugely useful though. I didn't have to spend so much time referee-ing the knock-down, drag-out arguments that my right and left brain have when I attempt this kind of thing. It's generally paralyzing (see the incredible lack of progress with this same pose last week).
After lunch, we continued to discuss composition. This week, Root Rectangles -
(with example armatures on classic paintings)
As well as a discussion on Golden Sections - all aspects of formal composition I've never really studied before. So, yay.
*And*, I'd asked about our instructor's approach to line work (SO beautiful!!!) -
So, we ended the day with a discussion on his thought process behind his line and brush making. Looking forward to seeing if I can apply this stuff!
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1 comment:
Congratulations on approaching the forced perspective. Forced perspective is a great tool to master, it has the power to really draw the viewer into the piece- and just a little can go a long ways. In fact, I find that a little is better, less obvious. Except when you really need it to tell the story as in Caravaggio's Conversion of St. Paul the Apostle.
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