Focus on the face.
Seems the next three schedules all require face study in the exercise. Which is fine with me, since it's something I've had little practice with (even avoided doing when I was younger). Kimon says:
"Don't think of the head or the face as something different from any other part of the body. Draw it as you would draw a hand or an elbow or a knee."
Sounds theoretically sound, so I'll go with it.
Gestures of the face.
Quick contours of the face. That first one's kind of having an out-of-body experience. I kind of like it though. The second (and third) one is also pretty amusing. Amusing also, because it is the same girl from two different pictures. You see, where, arguably, her right eye is supposed to be, I contoured her face, first. Seeing I had plenty of room (it was a small picture), I decided to just move over a little. And now it kind of looks like I did it on purpose.
Contour of a face. Really. When I look down and see it's that out of whack, I don't have the strongest desire to complete it. Funny how taking longer doesn't seem to make it better.
Yeah, right. I shall continue this long study, but on a different sheet of paper.
20101030
20101028
Schedule 7B
Baby, I need your lovin'. Got! to have all your lovin'.
"Every step in this book is founded on your willingness to look at the model."
No doubt. Look is a curious word, though. If I look at a woman the way I've been looking at my guitar head, she might get the wrong idea.
Or maybe the right one.
Moving on.
Quick contours. Funny, because, by his definition, I've been doing that all along. Now what do I call what I've been calling quick contours? Really quick contours, I guess. The first one almost looks recognizable. The second... The third one I didn't even show.
I got the idea to change color each "hour" (which has been thirty minutes, so far) I drew to show *progress*. The two major difficulties I've been having are,
One, I tend to look ahead. All the time. In most everything I do. Whether with my eyes, or with my mind in anticipation. And contour is all about the moment, the instant. A good lesson to learn, really. And,
Two, I have a large field of vision. I'm paying attention to everything around me instead of that single point. Crippling myself won't help in the long run, so I'm just going to have to learn to focus my powers. Boy, didn't that sound spiffy.
"Every step in this book is founded on your willingness to look at the model."
No doubt. Look is a curious word, though. If I look at a woman the way I've been looking at my guitar head, she might get the wrong idea.
Or maybe the right one.
Moving on.
Quick contours. Funny, because, by his definition, I've been doing that all along. Now what do I call what I've been calling quick contours? Really quick contours, I guess. The first one almost looks recognizable. The second... The third one I didn't even show.
I got the idea to change color each "hour" (which has been thirty minutes, so far) I drew to show *progress*. The two major difficulties I've been having are,
One, I tend to look ahead. All the time. In most everything I do. Whether with my eyes, or with my mind in anticipation. And contour is all about the moment, the instant. A good lesson to learn, really. And,
Two, I have a large field of vision. I'm paying attention to everything around me instead of that single point. Crippling myself won't help in the long run, so I'm just going to have to learn to focus my powers. Boy, didn't that sound spiffy.
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