University of Waterloo Dept. of Fine Art

FINE 328H: Assignment 1: Storyboard

Winter 2002

Doug Kirton

Gesture Drawing

"Gesture": - noun- 1.) significant movement of a limb or the body, 2.) use of such movements, especially as a rhetorical device.

- verb- action to evoke a response or convey intention.

"Gesture Drawing": a subjective approach to representing the relationship of form and space. All objects have an overt or implied gesture. The purpose of a gesture drawing is to convey a sense of the unity of movement within a form. To achieve this the artist must be empathetic to the model. Gesture drawing is the root of all figure drawing styles- it is the means by which an artist imparts a feeling of mobility and "life" to images of the human figure. In gesture drawing do not draw what the model looks like: draw what s/he is doing. Gesture drawing is an experience; do not be preoccupied with the final product, as it could take you 25 or 50 drawings to get a really successful one. Gesture drawing is not a style; it is an " approach", an "attitude".

Method of Gesture Drawing

If we turn a corner at the end of a hallway and are surprised by a figure approaching from the opposite direction, our eyes, in a split second, scan the general attitude of this person to determine if their gestures are aggressive or threatening, passive or friendly, frightened or confident, etc. Gesture drawing attempts to "map" these instantaneous eye movements as it comprehends the characteristics of a subject- its shape, proportion, the relationships between its composite forms, its position in space, etc.

As you do a gesture drawing you should think in terms of verbs: what is the figure or form doing in space? Be empathetic. If you are drawing the figure, you should be able to feel in your own body the dynamics of the figure's pose. If you are having difficulty empathizing with the model strike the pose momentarily yourself to determine what it feels like.

As you draw, let your chalk swing freely around the paper as you respond to the movements of the model. Try to convey a sense of action and movement. As poses in class are timed and it is impossible to control the movements of people when you are drawing in an impromptu situation, it is imperative that you draw quickly and spontaneously. Scan the figure/ form in its entirety before beginning to draw, remaining aware that your hand will duplicate the motion of the eye as it comprehends gesture. Draw using a continuous line, without taking your chalk off the paper. Use large arm movements- draw from the shoulder, not the wrist. Draw through forms, avoiding a reliance on outlines.

Research Artists:

Creti, Donato; 17th century Italian

Daumier, Honore; 19th century French

Giacometti, Alberto; 20th century Swiss

Picasso, Pablo; 20th century Spanish

Rembrandt; 17th century Dutch

Tintoretto; 16th century Italian

Sketchbook Activities

You should carry your sketchbook with you at all times. A smaller, more portable sketchbook will be convenient for these exercises.

1.) Practice doing gesture drawings of people in action. Environments such as the school cafeteria or gym, the local shopping mall and transit system, etc. will "force" you to work quickly and spontaneously as you attempt to effectively record the dynamics of form in movement.

2.) Practice doing gesture drawings of inanimate objects. The clutter of objects left behind after a meal or an untidy room make good subjects. Try to establish relationships between forms and don't neglect the negative space between objects. Remember that objects are built for a certain purpose and that this purpose defines their shape and gesture.

3.) Each day, do one fifteen minute gesture drawing from memory of a figure in action in the environment. Put down as accurately as possible and in any order, the aspects of a particular event. Record the type of action and the type of environment you remember. Simple, common activities are recommended for this exercise. Do not spend more than fifteen minutes on this drawing, and do not make revisions. Label this exercise "daily composition" in your sketchbook.

Do not be concerned about whether your drawings are "good" or "bad". Just do them.