I'd consider doing the same thing you normally do, but focus on connection points. So consider drawing only the models' knees, hands, wrists, elbows, feet, ect.
Your drawings will both suspend and disable the belief in the pose, across these sections, sometimes in the same drawing. 13, 15, 7, and 4 are good examples of this issue.
Lastly, consider doing fewer poses, but for longer periods. So instead of doing 24, why not do 6-12 longer ones? Longer poses change how we interact with the image and start us thinking more deeply about compostion, shading and the like.
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I'd consider doing the same thing you normally do, but focus on connection points. So consider drawing only the models' knees, hands, wrists, elbows, feet, ect.
Your drawings will both suspend and disable the belief in the pose, across these sections, sometimes in the same drawing. 13, 15, 7, and 4 are good examples of this issue.
Lastly, consider doing fewer poses, but for longer periods. So instead of doing 24, why not do 6-12 longer ones? Longer poses change how we interact with the image and start us thinking more deeply about compostion, shading and the like.
All of the best,
JCML Fine Art