This group of sketches is a big improvement in learning how to "previsualize" a character in three dimensions. Especially well done is the running figure and the kneeling archer.
Reducing the figure to simple 3D geometric forms allows you to focus on how those forms properly work in perspective. Once you master this then you can begin to apply your growing knowledge of the anatomy (skeletal, musculature and topological features on the body).
The right leg of the other kneeling figure is awkwardly positioned, the thigh is not convincingly forshortened and the foot appears to be too far too the left so that he looks like he is about to fall over.
The standing figures are a bit awkward especially the one on the left. When we stand we shift weight from one leg to another --this tilts the pelvis in one direction and the shoulders and upper body compensate by going in the other directions. Rediscovered in the Renaisance the Italians called this contrapposto. This principle was first discovered by greek sculptors about the 4th century bce when you see a marked shift from the so called geometric style of the standing kouros figures (inspired by Egyptian statues of pharoahs) to the more naturalistic sculpture. Examples include from a google search of "contrapposto stance":
Sam,
ReplyDeleteThis group of sketches is a big improvement in learning how to "previsualize" a character in three dimensions. Especially well done is the running figure and the kneeling archer.
Reducing the figure to simple 3D geometric forms allows you to focus on how those forms properly work in perspective. Once you master this then you can begin to apply your growing knowledge of the anatomy (skeletal, musculature and topological features on the body).
The right leg of the other kneeling figure is awkwardly positioned, the thigh is not convincingly forshortened and the foot appears to be too far too the left so that he looks like he is about to fall over.
The standing figures are a bit awkward especially the one on the left. When we stand we shift weight from one leg to another --this tilts the pelvis in one direction and the shoulders and upper body compensate by going in the other directions. Rediscovered in the Renaisance the Italians called this contrapposto. This principle was first discovered by greek sculptors about the 4th century bce when you see a marked shift from the so called geometric style of the standing kouros figures (inspired by Egyptian statues of pharoahs) to the more naturalistic sculpture. Examples include from a google search of "contrapposto stance":
http://emptyeasel.com/wp-content/uploads/2007/12
/greekkouros.jpg (not contrapposto)
http://fram3.static.flickr.com/2313/1653850351_5d27f8d6f4.jpg
http://emptyeasel.com/wp-content/uploads/2007/12/michelangelosdavid.jpg