Info Jhk
The next two pictures demonstrate what you have to look for when using foreshortening and perspective on the human body. Below are two figures lying down on a surface with their heads towards us and their feet away from us. The man is lying on his back and his head appears very large in comparison with the rest of his body. Notice how the shoulders, arms and chest are the next biggest part of the body and how the legs appear quite tiny, with the feet sticking up and looking almost too big for...
Info Ezb
The problem with drawing in colour in pen and ink is rather similar to the situation with coloured pencils. Large areas take so many G strokes of the nib to fill them that inevitably there is a large amount T of white paper left showing through, and this tends to produce more N of a tint than a solid colour. Other problems are building up tones S sufficiently densely to hold the form and taking care that marks R aren't so strong they dominate. Pen and ink drawings are never quick T to produce...
Info Vut
Here are a couple of figures, one on a white background and one on black, which demonstrate how to balance out your tonal range. The problem with T drawing a figure in colour is the risk that you run of making the final result tx look too melodramatic. The range of tones on the human body is quite C subtle, but they do go from cool or cold colours to warm, rich tones. The A sort of light that is used makes a difference - sunlight being so strong that F it often washes out contrasts of colour,...
I Wce
N In St George and the Dragon Z 1555-1558 by Tintoretto, the O use of colour is very traditional but extremely successful in R getting across the drama of the situation. The foreground is dominated by the frightened princess fleeing from St George's violent conflict with the dragon as she rushes towards the viewer with arms outstretched and cloak flying. To 'advance' her, she is shown in a shimmering deep blue dress, cloaked in a beautiful pinkish red. Her pale face and shoulders emerge from...
