The Art of Natural Dressage

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PostPosted: Mon Feb 03, 2014 8:06 am 
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See, it's not so bad, isn't it? :D Now it looks perfectly for me. :f:
Especially I like his left hindleg and the convex neck-shape.


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PostPosted: Sat Feb 15, 2014 6:25 pm 
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Thanks! :kiss: You will get it tomorrow, if I don't forget it.

Inspired by Mrs. Nelly, I tried Titum's eye, too.

Image

And somewhat more my own style... work in progress :)

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PostPosted: Sun Feb 16, 2014 7:35 am 
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Your all pictures are soooo nice and beautiful and I like all :love:

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PostPosted: Tue Feb 18, 2014 5:05 pm 
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Quote:
Image


Hey Romy, I really love that one. It is just perfect to me. You really captured the movement and the energy there...
And Titums eye is great, as well. I like, that I can see every detail in there (maybe the camera was very near to the picture, because it is smaller than the others...).
Your "Strich" is very interesting, generally. One can see it clearly in the works in progress for example.

To me, art is amongst others, about getting into what you really love, what you re interested in and what you re inspired by. That makes art authentic to me.
And in your case, your love for details and energy makes your pictures so special.
Anyway, all your drawings seem to be as powerful, as, I reckon, you are... :D

I like your idea of doing the same picture one time like Lena, then like Nelly, then like Romy and so on...
Everybody draws so nicely different, in here.
This action will broaden everybody s horizon, I suppose...


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PostPosted: Tue Feb 18, 2014 6:00 pm 
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Thank you, Dani! :kiss:

Yogini wrote:
Hey Romy, I really love that one. It is just perfect to me. You really captured the movement and the energy there...


You can take it home when you will visit us in May. :smile:

I am not so sure about these ballpoint pen drawings. Some years ago I had a friend, Katja, who also was my art teacher at school, and we were often talking about my drawings, or drawing in general. I have learned so much from her, not necessarily about technique but about the process of drawing in general. For example, she always quoted her professor at art college who said "Never be afraid to mess up your own artwork!" Although this may sound simple, it was a huge relief for me. It allowed me to become experimental, because I stopped being concerned about the result. In that way my drawing style changed from overly careful, light and static miniatures to the movement studies I am doing now.

Anyway, with regard to the ballpoint pen drawings, Katja told me that she thought I should not do this. This was weird, because usually she was all about encouraging people to experiment and develop their own style. But in this case she said this technique increased my natural tendency to become rigid. I am drawing with a ballpoint pen anyway if I want to, because I don't really care what it is doing to my stlye. But I do feel it, and although the thin and multidirectional lines are very good at covering it, I can see the rigidity in the drawings as well.

Yogini wrote:
To me, art is amongst others, about getting into what you really love, what you re interested in and what you re inspired by. That makes art authentic to me.
And in your case, your love for details and energy makes your pictures so special.


Hm, the detail thing is a difficult one for me. Indeed, I do love detail, but at the same time I totally don't love exact reproductions. So for me the challenge is to use the detail to make a point which often is another one than that of the model. Another thing that really interests me in drawings (and life in general ;)) is contrasts, and playing with different degrees of contrast on a local to global scale. I just love to find out how I have to vary the lightness and darkness of small details (e.g. in a particular muscle) to set a local focus, of bigger features (e.g. the higher versus lower part of a face) to set an intermediate focus and of whole sections of the drawing to direct the attention on a global scale. If I am only focusing on local contrast (which is what happens to me when I try to be exact), all the details might look nice, but if I look at the picture from a distance, it is just one unitary sauce and looks boring as a whole. So my interest is in drawing pictures that are expressive on different levels, and this is something where I see lots of potential for improvement, to put it positively. 8)

Yogini wrote:
I like your idea of doing the same picture one time like Lena, then like Nelly, then like Romy and so on...


Yes, I am looking forward to that (although I am especially curious what the "like Romy" version will be for me :funny:).


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PostPosted: Tue Feb 18, 2014 7:13 pm 
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Anyway, with regard to the ballpoint pen drawings, Katja told me that she thought I should not do this. This was weird, because usually she was all about encouraging people to experiment and develop their own style. But in this case she said this technique increased my natural tendency to become rigid.


Well, I don t see rigidity in this picture at all... I see rather wildness and sharpness of the lines. It is funny, because my art teacher would make me do ballpen drawings, because he found it was releasing and liberating me. I go quite wild, with a ballpen, which is maybe, why I perceive this picture as wild. And afterwards, I could enjoy and apply the sensitivity and the possibilities of pencils much more again.

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You can take it home when you will visit us in May. :smile:

You re so great, Romy... :D Yes, I will do that, thank you. :f:
And then, I will have a close look at it, concerning the "Strich"... :D

Quote:
I just love to find out how I have to vary the lightness and darkness of small details (e.g. in a particular muscle) to set a local focus, of bigger features (e.g. the higher versus lower part of a face) to set an intermediate focus and of whole sections of the drawing to direct the attention on a global scale. If I am only focusing on local contrast (which is what happens to me when I try to be exact), all the details might look nice, but if I look at the picture from a distance, it is just one unitary sauce and looks boring as a whole.


This is indeed one of the main problems of studies, in my opinion. My teacher made me walk back very, very often, and he made me look with slitted eyes without focusing on one point. That helped a lot. He teached me, not to go into details, in the beginning. He made me grasp the whole, but I had to start it from inside (not to start with an outer line, but an inside form), then I had to work myself to the outer parts very scetchy. Then I could slightly go into light and shades, but first of all briefly. When all was done, I was allowed to start details, but I should never loose the whole, when I worked on a detail, so he allways called me back, especially in that phase. That worked fine with me to not get the unity sauce...
I actually love your work in progresses, because the unfinished parts oppose the elaborated in a nice way. That is, what my teacher wouldn t like me to do in studies. But as an artifice, it is very exciting to me.
What a pity, could exchange for ages now, but I have to leave...


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PostPosted: Tue Feb 18, 2014 7:47 pm 
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Yogini wrote:
Well, I don t see rigidity in this picture at all... I see rather wildness and sharpness of the lines.


Like contrast, rigidity also exists on different levels, I think. What the ballpoint pen does is that it makes me very loose and spontaneous on some level, but rigid at other ones. It feels like a fruit fly that is caught in a glass, swirling around and banging against the walls. The swirling itself might still be very wild, but drawing in this way locks my movements to a rather small range in all of its parameters like amplitude, pressure, speed, and so on. In contrast to that, I feel like the pencil allows me so much more gradual variation during the movement itself - a bit like the encouraging politeness body language where you continuously adjust to the horse. ;)

Your process of drawing sounds very interesting! I have found that I am always starting at a particular place on the sheet (in the middle of the top left quadrant), no matter what part of the horse is located in that area. Then I make a rather sketchy outline just to make sure that I am getting the proportions right, and then I move on to drawing the most interesting (high contrast) parts, and skip between several of these areas in the picture. The level of detail to which I progress during these periods usually depends on how long I find it interesting. After drawing in one area for a while, I am starting to be much more interested in another area, so I move on to that one and then come back to the previous area later.

Yogini wrote:
I actually love your work in progresses, because the unfinished parts oppose the elaborated in a nice way.


Me too, which is one of the reasons why I prefer not to finish my drawings. I feel like they always become less interesting during the process.


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PostPosted: Wed Feb 19, 2014 1:02 am 
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Romy wrote:
It allowed me to become experimental, because I stopped being concerned about the result. In that way my drawing style changed from overly careful, light and static miniatures to the movement studies I am doing now.


When I was writing this, I thought I could post some of my early drawings from that time when I was drawing so carefully. I did them between the age of 13 and 15. Back then I perceived the second horse as quite extreme, and totally not my way but just a crazy experiment. :funny:

Image

I also have lots of drawings from a time when I got obsessed with drawing, made at least one drawing a day and traded all my focus on detail for chaotic lines.

Image

The funny thing is that although many people looked at me with that "How can you!?" :ieks: look when seeing the development from nice, detailed drawings to crazy scribblings, I am much more emotionally attached to some of the drawings from the second set. When I look at them, I get that fuzzy feeling, whereas from the first set all except the last one mean nothing to me. Perhaps I am just a person who needs chaos. :smile:


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PostPosted: Wed Feb 19, 2014 9:36 am 
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What the ballpoint pen does is that it makes me very loose and spontaneous on some level, but rigid at other ones. It feels like a fruit fly that is caught in a glass, swirling around and banging against the walls. The swirling itself might still be very wild, but drawing in this way locks my movements to a rather small range in all of its parameters like amplitude, pressure, speed, and so on. In contrast to that, I feel like the pencil allows me so much more gradual variation during the movement itself - a bit like the encouraging politeness body language where you continuously adjust to the horse. ;)


That is very interesting. And I can understand, why you seem to be ambivalent, concerning the ballpen drawings. To me drawing like that, is rather like dancing to a peace of "Rage against the Machine": I can really go into it and get crazy and all my cells dance and I love it, though it is full of anger and agression. I feel like I can let out all collected emotions, like amongst others those mentioned. That doesn t influence my fine and arty dance in a bad way, though. It may even supports it, because I can afterwards enjoy the subtle things again, much more. When I was still actively dancing, to dance on that kind of music, sometimes even helped me, to come to a new conclusion. For example, when working on dance pieces, we would use this kind of music in the working process, to get us into the mood of a choreo for example, which we danced in the end on classical stuff or experimental, or minimal or so ...

Wow, Romy, your old pictures are also very interesting. To study like that with 13 to 15 is impressing. It is a pity that I don t have my pictures of my child days anymore. I was also obsessed with drawing. In the first series, you already saw so many details. For example, the two old men, in the end are great facial studies, I think.
Tha second series is wonderful, I wish, I could size up the pictures.. I love the lines of the first picture, but they are all just my cup of tea... The thing about the chaos inside a structure is to me, that it isn t just a chaos anymore, but an inspiring combination, which is art, I love... To me, in my pictures, all the lines, which seem to be chaotic on a first view, still make sense. It seems to me the same in your pictures, though I cant see them properly, because they are so small. Maybe, when I come in may.... :D


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PostPosted: Wed Feb 19, 2014 11:31 pm 
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Your 'Rage against the Machine dancing' is what I sometimes do with a unsharpened 8B pencil, but not at all with a ballpoint pen. I think I'll give it a try, though. :alien:

Yogini wrote:
Tha second series is wonderful, I wish, I could size up the pictures..


I have uploaded some of them for you, but I am only posting the link to my Photobucket album so that I won't fill up the thread with old pics. ;) Hope you can see them (at least on my computer Photobucket often is a bit moody).


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PostPosted: Thu Feb 20, 2014 9:57 am 
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Your 'Rage against the Machine dancing' is what I sometimes do with a unsharpened 8B pencil, but not at all with a ballpoint pen. I think I'll give it a try, though. :alien:


And that is really funny to me, now. :D
My teacher told me not to use a pencil softer, than 2B... I completely forgot about that actually, and the possibility to use soft pencils, generally slipped out of my conciousness...I just never use soft pencils, the reason for this just went out of my awareness. I just never questioned it again... My teacher said back then, that I have this kind of very sensitive line (mainly outer lines), that uses all the range from light to dark, in a sensitive way. But my line imparts too much the impression of weakness, when I use pencils softer than 2B, and even that one, I have to use with much care... He said, he wouldn t like me to change my line, but rather gave me this advice. So funny, that it just came to my mind again, when I read your post.

I will have to try your "rage against the machine dance" version, though... maybe I will discover something inspiring... :D

Thanks for the uploads. I am looking forward to visit your photo bucket in some hours... have to do a job first...


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PostPosted: Sat Feb 22, 2014 10:11 am 
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Yogini wrote:
My teacher told me not to use a pencil softer, than 2B... I completely forgot about that actually, and the possibility to use soft pencils, generally slipped out of my conciousness...


:funny: I always use the softest ones I can get, so almost all of my drawings are done with an 8B, sometimes 7B or 6B if all the 8Bs are used by the children. For the drawing below I used a 4B for the first time, because I anticipated that this would make it easier for me to keep the contrast low.

I am putting the unfinished version of my Pan drawing from the Drawing like someone else thread here, because it still has a lot of "me" in it

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