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| 181. 11 May 2010 19:40 | ||
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I never learned much anatomy for drawing, at least not human anatomy. Should probably do that. I had a class that mostly consisted of drawing/painting bird skeletons and feathers. A museum here had them in little boxes you could check out on the premises and draw from. I was never satisfied with my versions. |
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| 182. 11 May 2010 19:53 | ||
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Due to flunking perspective, I had to take it over instead of moving on to anatomy, so I never studied anatomy in a classroom. As in perspective (which I flunked again as you my recall, then dropped out), had to make it up. It's a philosophical problem, as I see it. All organic forms grow from a single cell. Imagine that! How can the cell imagine it, is the real question though... Ancestral memories serve as the cell's imagination, or guide it. Every cell of the completed organism - zillions of them - obeys the inner logic of the ancestral memories. To make a long story short, every drawing of any organic subject is a hymn to all that organism's ancestors. It's our religious duty to get it right (Picasso got it right; right is not the same as correct.) |
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| 183. 11 May 2010 20:02 | ||
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The key is to draw from inside out, following the process (you love process) of the embryonic (and later) growth from the central point outwards. There is nothing random or arbitrary anywhere, as long as the cosmetic surgeons (blaspheming criminals, vandals) haven't interfered. For examples, an earhole comes at the conjunction of jawline, the curving indentation of the temples, the big neck muscles, etc. Eye sockets and cheekbones (which also point to earhole) and nose are a single complex form. I know you know all this stuff in theory more or less. For practice, there's no substitute for doing cheap sidewalk portraits. (Cheap so as not to discriminate, so as not to miss out on the best subjects, who can't afford plastic surgery.) |
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| 184. 12 May 2010 10:34 | ||
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Interesting insights, at several levels, guys. |
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| 185. 12 May 2010 13:01 | ||
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Hi Q, thanks, or you're welcome or whatever. Wondering if you've ever composed a book of (your own) wise sayings illustrated with delicate drawings... might be a bestseller if you did. Crackpot theory No. 733.6a(xiii): Heavy deforestation of NW Europe coincided with (slightly preceded) the boom in cathedral building. What disappeared? Dense old-growth forests, trees tall and straight, arching/entwining together in intricate latticework up in the canopy 80-100 feet overhead, gentle light filtering down through translucent foliage. What appeared? Same thing in stone. I think the memory was fresh, it must have been, and it was a memory going back unbroken to end of Ice Age. Sacred groves and Celtic Druids were not remote memories. Was it conscious? Imagery in stone of vine/leaf motifs (as in our own Gothic right here) suggests it was. So that's what I draw. (This doesn't apply to St Paul's but I cheat.) |
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| 186. 12 May 2010 14:02 | ||
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Thanks Q. There is something to that moment of seeing, indeed. I like your story about seeing the shooting the same person at the same time differently. This is where I think the artist's voice comes out. We never quite express the same thing the same way because we don't perceive it the same way. |
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| 187. 12 May 2010 23:12 | ||
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Having abandoned the idea to follow this conversation a long time ago, I was wandering if this challenge will have sometime a thing so trivial as a winner. Just curiosity, bc I well know there are here artists far better than me, and also bc I'm leaving for a congress and will be back only on Sunday, so I call me out for this round |
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| 188. 13 May 2010 08:40 | ||
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I guess clorophilla won't see this until Sunday night. Yes we are close to a winner. We have some finalists now. If Danila would send over her latest, that would be good. She's definitely close, even without it. It was five's 'Vase' from a couple of weeks ago that inspired this subject, and it's one of the finest examples of the Mild Cubist way of seeing I've ever come across from any artist in any era. But of course it's not eligible due to predating the start of the challenge. I'm inclined to think in terms of how hard people have worked to meet the challenge too. Those who have had to struggle to change their style and to think in unfamiliar ways about space and design get extra credit for their effort. I'll probably have a decision by later tonight. Bye for now. |
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| 189. 13 May 2010 08:53 | ||
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| 190. 13 May 2010 08:55 | ||
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| 191. 13 May 2010 11:00 | ||
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Pardon me while I think out loud for a while... Pretty how how it's going to turn out, but need to look at collections submitted by different people here... |
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| 192. 13 May 2010 11:09 | ||
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Qsliv's collection... |
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| 193. 13 May 2010 11:11 | ||
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So for challenge-judging purposes, there are just those two Qslivs... |
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| 194. 13 May 2010 11:18 | ||
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(I should note that Qsliv's two 'golden mean' pieces are ALMOST within my criteria here, and should be studied gazed upon by anyone who wants to absorb this all-important concept. Jacques Villon, the ultimate Mild Cubist, has golden means running through much of his work, possibly most or even all of his work.) |
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| 195. 13 May 2010 11:19 | ||
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(that should've been "gazed upon and studied") |
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| 196. 13 May 2010 11:28 | ||
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I'll start five's collection with the piece that started me off in this direction (pre-dating challenge, or else it would win by a country mile): |
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| 197. 13 May 2010 11:39 | ||
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Speaking of quantity, here's a glorious heap of entries from danila: |
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| 198. 13 May 2010 11:40 | ||
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quick interjectory note re "allowed" -- |
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| 199. 13 May 2010 11:43 | ||
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Hi Qsliv, always a ray of sunshine beaming into the shadowy haunted caverns of Mild Cubism... But I won't reply now since I'm trying to stay focused... |
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| 200. 13 May 2010 11:54 | ||
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From clorophilla: |
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