While drawing a body, the knowledge about anatomy will become really important. We do know that the body usually will be as long as 8 heads. We can also use a line as a spine which shows the whole movement. I tried to draw my boxes as close as possible to the skeleton for a better imitation of the figure.
Big moves will help to bring life to our figures. For more dynamic poses, we can use lines that go to different sides rather than drawing them parallel. shoulders and hips going different sides will help you to create dynamic poses with more feeling into them.
In my Derek Overfield research and imitation, I mainly used charcoal and ink. I tried to give dynamism as much as I could with a well-filled composition.
I combined ink and water.
DEREK OVERFIELD
Figurative art has always been a part of his life according to the artist. Before he could read the words on the page, he was immersed in the dynamic figures of comic book art, learning the body's unique language. At Fairmont State where he held a bachelor's in Fine Arts, began to work from life models and pore over books of art under the guidance of acclaimed painter Lynn Boggess. In life drawing class he met his future wife, the painter Lauren Adams, and their mutual love of art has taken them on many trips together to see timeless figurative art.
My work brings with it a bold and heroic presence, a one-of-a-kind and unique experience. Similarly, he says that feels honored to be a part of the age-old tradition of figurative art. Collectors of his work partake in that venerated tradition as well. They too celebrate the primal yet divine nature of mankind, the potent and strange force of humanity. In his works, we can usually see a male figure. My favourite part about his art is the parts he left as a gap. I think it helps to create some mystery and makes drawing even more powerful and bold. His lines and tones are also bold and relaxed. The use of light and charcoal shows his skills really well.
Howard Tangye (b.1948, Australia) has been an influential force in fashion for decades.
Throughout his teaching career Tangye quietly developed a particularly idiosyncratic art practice. By employing a decisive line with bold applications of richly layered materials, Tangye explores the nuances of the human form in an effort to expose his subjects’ true essence and energy.
He examines emotion in a way other mediums are unable to. Tangye’s twisted line finds similarities with Egon Schiele, but what separates Tangye’s work is an intriguing, shy romanticism. Tangye himself states that ‘[drawing is] a bit like falling in love, however unrequited.’
In his works, I really like the movements of figures.
The general design and the concepts being full of expressionist bold movements and colourful line work create a great view in his artwork. The calm look on the faces of the figures gives me that romantic or melancholic feeling from a safe place.
In my imitation, I wanted to focus on the fabric and deformed body of the figure which is another thing I like about his work. I used ink, pastels and charcoal in my design.
I used cross-hatching in the body and hatching in the general composition. Leaving some gaps between the lines helped me to imitate a jungle or a natural space.
I used hatching on the bodies and the fish.
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