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JamesB000 — Dance Motion Capture Study.
#dance #lineart #dancestudy #flamenco
Published: 2019-04-17 14:38:34 +0000 UTC; Views: 861; Favourites: 60; Downloads: 0
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Ah, i love deviant for mainly one reason. to dump all my old Art in one place, instead of having them scattered in various files.I was studying trying to capture the beauty of Flamenco in one single shot. she was very patient. XD
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Thank you very much indeed !
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Great, It reminds me of my Grandmother! Her legs were very long, and she could dance up a storm!
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Your Grandmother must have been very Pretty and pretty cool to watch, dancing up a storm.
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Oh yes, grandma would teach both of us to dance since we were very young. But conversely, When she would walk to the store and I had to hold her hand, I couldn't breath. She had some long legs, and I was very small. Five of my steps equaled one of hers! She would just dragged me.
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nothing wrong with your Talented Grandma teaching you how to dance. being dragged though must have been a bit of a trial, especially when she had extra long legs !
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I loved her teaching me things, but being dragged was another story altogether. I loved her to pieces. But I would get on her last nerve every single day! She was a great woman, but a sweet little old lady she would never be. I would love to go back in time to just hang out with the multitude of family that I had.
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Oh thank you so much indeed i'm happy you liked the drawing
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With all that I forgot to say that this makes a really good strong impression when viewed as a postage stamp. The tonal variation at that size is impressive.
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did you ever watch a flamenco dancer perform or any dancer ? it's beautiful to watch Pat.
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I think dance is my first love. Or maybe I just think that because I can't participate in it? My summertime preoccupation is following So You Think You Can Dance. At least it used to be until they started effing with the format. To me dance is the same as martial arts, only more difficult for the aesthetic angle. And pro dancing, as ballet, that's a grueling life, unless you're cut out for it mentally and physically. Perfect bodies, dancers, the ones that respect themselves. Healthy animals. No such thing as an ugly one. They channel the life energy rhythmically in everything they do. Such grace and power makes each a beauty.
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I agree with everything you just said.. always perfectly articulated XD
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Don't know if I mentioned this to you, so forgive me if I repeat it. Drawing in outline, tone and color are categorically separate aptitudes. Progressing in one has nothing to do with the others. Reviewing your gallery the tonal work and inclination to tone is so obviously prominent. One gets the impression that all you want is enough lines on the paper to justify going to work with tone.
This is a gift, as is the pleasure one gets from making the strokes and feeling them. It is the same with gesture, though one is not aiming at tone, but at flow. If tone is about vibe (vibration), then gesture is about flow, and both are oriented to rhythm. I think you can get into studying and practicing gesture if you transfer that sensitivity for rhythm from vibe to flow. There is very, very, little difference. One might say it inheres in the length and bend of the lines.
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That's what i do basically, you've got right to the heart of my Vulnerability. my way of thinking is, that if i create enough lines then shapes and tones will inevitably appear, as you so eloquently pin pointed that out.. as to gesturing ? i am at a loss.
Again, i 100% agree with you about Flow - this is the reason why i'm not comfortable with inks because it's all about flow and more about Gesture. I find it hard to do Pat. like i've said before. i'm not a natural artist. i struggled for a long time. copying everything i viewed. so detail and tone comes from that but Gesture\inks i hate thinking about it. I know it may seem pathetic to you but that's the way it is for me. i'm gonna try and ink 181 sometime in the future but at the moment, i#ll note your wise Advice.
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Haha. You've got the exact profile of a Natural.
Natural's learn by copying what they see. What they see is the illusion, so they copy it from the outside. That means they start with the finish, the rendering. It creates a sensational effect. They're hooked. They get into it and become excellent at copying.
They do what comes naturally, expecting to develop more ability to control what they do , to create things as they copy them, but it doesn't happen on its own, as the copying did, and they are at a loss for why not.
Art is like a magic show. Copy the illusion as it is presented by the magician and it never works. You saw the girl in half and she dies. That's because 90 percent of the work done to set up the illusion happens behind stage and out of sight and unbeknownst to the audience. In this case, what it takes to draw are not the decorations and embellishments that we see in the final product, but all the ungodly mess that comes before and on which it rests - the gesture drawing to establish the lines of force and the tensions between force and structure, and the construction to turn line and shape into form. Then comes the sculpting of the blocks to turn generic forms into specific ones - the detailing. And on that one may finish by rendering texture, shade and shadows. Not until then.
It is an organic process of development moving from general to specific, not counting embellishment, which of necessity comes last, if at all.
The shear frustration of going so far only to turn back to fill in what's missing in the foundation is why so many Naturals go no farther than fanboys in the pursuit of art. No one is a whiz at art by virtue of genetics. No matter the aptitude, one must work. The key is knowing at what to work.
I've given you the formula. I've directed you to exercise a few minutes a day at Croquis Cafe and Posemaniacs - timed gesture drawing. I'm at your disposal. You should make use of it while you can. It's not everyday it drops from the sky into your lap. You don't have 20 minutes to spare?
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well if you say i'm a natural artist then i'll take that ad a compliment.
After reading your message, i guess i am a natural Artist and also your formula has been taken on board, i'm not going to draw for a while, ( couple days or more..just to get 181 out of my head.) and then i'll do some timed, gesture drawings.
thanks as always for the Advice and what direction to take.
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NP.
i tell people a year of daily practice drawing gesture. What I don't tell them is that it never ends. It's the one thing we always do because it's the preliminary step of everything we do. If for no other reason, then, one should train to be proficient at it.
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You should write a book with your Art knowledge Pat. it would help other struggling artist, trying to find their path... it helps me and i'm just an art monkey..lol
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I'm just able to put into words parts of the experience that for others is trapped mute in their skin, in their hands. And it's true that I don't know what I enjoy more, doing art (writing fiction included) or talking about it. I like both. I need both skill and knowledge, to be able to use both, to be able to communicate both artistically and intellectually. I like learning and teaching.
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I would Say, your wise advice, Artist skill and knowledge on an entire array of subjects are most interesting and many could learn from them..like i said..write a book !..everyone wants to learn how to be a better artist !
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I'm curious to find out if it's in you to make the commitment. I wouldn't change how I think about you, I'm not judging. I just see the potential and the person and wonder if the two are meant for each other, or not.
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I told you from the Start, i'm not bothered about whether i draw better or worse anymore but ever since you've been uploading your Work, your knowledge on techniques, Tonal, Schemes, gesture, light and shade, perspective..etc..etc. and also the inspiration on the knowledge you have and you so kindly shared with me, i'm kinda hyped that i want to get better, just for myself - nothing more. at the moment, i'm not doing anything..just allowing 181 to disappear from the front of my mind now.
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Well, what other reason would there be? To get better for others? Why? Who are they that one should please them? Absolutely! We do the work for the joy of it. Of course, there is a part we like to share as professionals that IS geared to pleasing the audience. We want to get inside their heads and impress, beguile, befuddle - and to do it well for them starts with doing well, period. The fun goes away when we don't know what to do to progress. But when that part is provided, we're able to press forward and have a good time with it. Too difficult or too easy, we lose interest. But challenges of graduated difficulty - on that we thrive.
Check out parallel projection in Hogarth's books.
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i'll check out Parallel Projection in Hogarths book. thanks man.
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Note that Hogarth's books are a blessing and a curse. It's hard to see anything other than his unique drawings. We want to study THEM. But they are not intended for that purpose. The thing to study is his construction methods and concepts using basic forms. Study those. Focus on those. Don't look at his finished art examples or they'll seduce you into copying. That's what happened to me almost every time, until I got wise.
There are a bunch of mechanical skills that are good to know and fun to do even if you're not using them as a professional. Hogarth presents some. Loomis presents some too, particularly for the division of space. Using a viewfinder and various ways of using a grid are just plain fun. You can do enlargements and reductions with a grid. And it is part of the history of Art - the camera obscura is another. I like to experience using these contraptions and methods. If I had to do a mural, today, I'd know exactly how to proceed without any electronic equipment, as a projector.
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thanks i'll be looking for section 6, page 151. sometime today. it'll be interesting.
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