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.