As I was struggling to pull my drawings together, I realized that it didn't matter how good my line got, because I couldn't tell what I was looking at. The topic was the human body, and more specifically, the back. If you've gone through life drawing, perhaps you know the problem. You're sitting in your workshop, a reasonably muscular man is posing, his back is turned to you, and... what is going on? What are all those bumps and ridges?
From the time I started drawing, I have had a constant battle with myself over how to start. For years I have been looking for the one right way to sketch in a composition or block-in an underpainting. Lately, and with the help of my Studio Incamminati instructors, I have learned that there are several ways to start, and that none of these is "the way" but one of many tools in the toolbox. What a relief!
When trying to draw the head correctly on the body, pay specific attention to the neck and the placement of the head upon it, above the ribcage. Double check the alignment of the center line of the face, as compared to the sternum ( centerline of ribcage) and linea alba (centerline of abdomen).
I have found that toning my support, whether canvas or paper or board, is something I often do now. I’m showing two works to illustrate the difference between toning and not toning.
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