At the drawing sessions which I attend, we often have "long poses", where the model holds a pose for fifteen minutes, takes a short break, and then assumes the same pose again, for as long as one and a half hours. Accustomed as I am to quick drawing, I sometimes become frustrated with these long poses. Instead of working on just one drawing, as most of the other members do, I may do several different versions of the pose. Occasionally, I get up and move to another viewpoint in the room.
Recently I tried something new. Getting to my feet, and with a small pad held across one arm, I did a quick drawing of the model from a viewpoint at the far left of the room. Then I sidestepped a few paces and drew him again from the new viewpoint, superimposing the new drawing over the first and keeping the proportions much the same, as I could see the previous image faintly through the paper.
I continued on, moving to my right after each drawing, sometimes crowding in between the easels of two of my fellow artists, until I was at the far right of the room with seven different angles of the model on my pad.
|Seven related drawings of a single pose.|
Now I have scanned the drawings and made a little animated movie of them. The result is of course the illusion that the model is rotating on his stand.
This is a wonderful way to learn to understand proportions, to get a grasp of the idea of foreshortening, and to learn the all-important art of visualizing your flat drawings as representations of spatial geometry. I plan on doing it again soon. Try it!