This time I've got some old-fashioned odds and ends for you.
First, to hammer home the180 rule, a couple of graphic restatements of the idea:
Next, some very nice drawings of feet from an artist named Willy Pogany, whose instructional books on drawing are helpful and appealing, sez me. He really brings out the solidity of the form and its component forms. There's is a slight angularity or blockiness that strengthens the descriptive strength of the drawings.
Next, a real-life example of the line of action--not the same line of action cited in the 180-rule graphic above, which could better be called the line of interaction, if you're asking me. We're talking about capital-A action now. So how would you draw the lines of action running through these two?
Here's my try at it:
- Notice in the case of the guy who fell, the head and neck jut forward without much respect to the direction taken by the rest of him. This isn't at all unusual. The neck writes its own ticket, you could say.
- Notice please also that the lines of action are quite different from the directions these guys are moving, which I think you can readily infer. That too is not unusual or problematic.
The line of action lives to help: Its job is giving figures "flow," and evidence of intentionality. The opposite of a rag doll thrown in the air. Even the falling Niner here is exerting some control--he keeps his head level enough that he can see what's happening. His neck and stomach muscles are much involved in that.
SEE YOU SATURDAY!
John
No comments:
Post a Comment