AdvancedStudioMethods2018: Drawing Figure

Wayne Kimball collage constructions a cake fit for Julia Childs

Shayne Eliason's construction

Drawing and the Figure

What kinds of issues or ideas does working with the human figure bring to mind?

What essential or provocative questions might you ask?

Kerry James Marshall

You cannot escape cultural influences, influences of tradition and artistic influences. Neither can your students. You are either working within a tradition (often without knowing it) or working against a tradition or convention of picture or art making. What you choose to put in your classroom, in your slide, your object or painting, if you choose to drag your students to the museum, which changes the experience entirely. You cannot choose to not influence your students, they are already been given influences by their culture and society, and some of those influences are not very healthy.

Questions:

What kinds of issues, or ideas does working with the human form bring to mind?

Why is drawing the human so difficult?

Why would engaging with l figure drawing be a good thing to do in art class?

How can images of the human figure be used to express important ideas?

How do images of the human body influence our sense of identity?

How do art and popular visual culture reflect ideas about human beauty?

How does clothing give us power and help us construct our identity? What do clothes mean?

What are the meanings of nudity in art and visual culture?

What makes a good drawing and what is the range of possible in drawings?

How can the complexities of human anatomy be understood and used artistically?

Figure Drawing

Why would I want to make a drawing of the human body? The figure drawing class with student sitting around the nude model seems so old fashioned and quaint in our pornified society. The attempt to master the craft, skills, and knowledge required to make a figure drawing is often reserved for illustrators, animators, or those looking back to Renaissance masters. What is its place for K-12 or college art students? Although new media and technologies have important and unexpected places within the art curriculum, traditional forms of artistic expression can also provide significant artistic experiences if the are given meaning in the contexts of contemporary art, culture, and the lives of students.

So, one possible rationale for working with the human figure is to touch a deep and respected tradition of art making within the conventions of the European Renaissance, which recast Greek ideas about artistic expression into a hybrid combination of humanism and Christianity that had, at its center, a focus on depicting the human figure. This tradition continues today in the work of many illustrators, animators, cartoonists, graphic novelists, and other contemporary artists. Another rationale, then, might be to give students fluency using the human figure within this set of artistic conventions so that they could work in, and join the artistic conversation of these contemporary artists.

Another possible rationale for studying the figure is how it grasps our attention and the attention of our students because of the complexities and beauty of the human form, from the bones to the how we clothe ourselves. Making this a subject of artistic investigation requires careful noticing, observation, and concentration. It can involve the study of artistic anatomy and the artwork of those who have used the figure, following lines of influence from the Ancient Egyptians to the Greeks, Romans, European Renaissance to contemporary artists.

Another rationale for this study could be to investigate our society’s obsession with fashion, clothing, class, and identity as it is connected to our bodies. Lauren Greenfield’s Girl Culture, and her movie Thin, explores these themes in the lives of adolescents.

As for approaches, I like to think of two interrelated problems or challenges in figure drawing. One is the problem of how to handle the complexities of the subject. I like to begin this study with the idea of the gesture study. This approach focuses on the life and energy of the human form, and the life and energy of the artist, as it is expressed in the gesture. So the gesture or action drawing is both a way to think about the human form and a way to think about our own interruption of the blank surface with our very personal act of drawing.

The second challenge connected to this study is exploring the range of mark-making. This is why I like to work in newsprint, with water, ink, white tempera or gesso, with large brushes and sticks. With students I like to expand the possible range of ways to make a mark, and the possible range of tools to make these marks, while at the same time doing careful observation and study of artists and human anatomy. The making of a figure drawing-painting can be an exciting and beautiful thing. It can also be the springboard for thinking about visual culture, fashion, advertising, and identity. The study of figure drawing can be a deeply enriching experience in itself and it can lead to other ideas and projects.

gesture drawings Paul Vorst, 20th century