The Envelope, Block In and Proportions.

I did some quick researching online to find some more examples of the "Envelope" method we have been using in class.  This is very clearly illustrated in this little write up by Robert T. Barrett. Enjoy!

Exercise I. Drawing the Human Figure: Using a Simple Block-In

Using an envelope block-in and gridding to measure and map the figure isn’t a new process. Though some examples of gridding may seem complicated or complex, this measuring process is, nonetheless, a useful tool in learning how to draw people.
I suggest using a simple form of gridding to plot points and angles when completing a traditional life drawing because it will help you establish the correct position and dimension of proportional relationships.

1. Drawing the Human Figure : Create an “Envelope” Around the Figure

A first step in gridding the subject is placing an “envelope” around the outside edges of the figure (below). It’s helpful to use only straight lines during this process because landmarks will occur at intersections where the angle of each line changes direction in a drawing of the human figure.

2. Drawing the Human Figure : Plot the Inside Landmarks

After you establish the envelope and create the outside angles and proportions, look for inner landmarks (see below). These are often located at points where two angles intersect or at “hard places” where the skeleton is close to the surface.

3. Drawing the Human Figure: The Finish (see below)

This model for my life drawing class, in Seated Male Figure (Nupastel on paper, 30×22), had great anatomical definition, which made the figure drawing techniques of mapping his figure easier.

Why Bother With An Underpainting?

I found the following images on Anne Kullaf's Blog Loosen Up. It is an excellent example of underpainting and the development of a painting.
This first image shows an incomplete underpainting that resolves issues of proportion, and begins to address value. This underpainting was done using a tinted ground (gesso and some light red ochre) and burnt umber. The values are beginning to be established by the use of washes to block in medium and light values and an undiluted application will block in the darker values.



Notice in this slide the underpainting is blocking in the rest of the background information. Underpaintings are meant to establish a firm structure for your painting but do not need to be resolved and finished in the same way that a finished painting is finished. Notice how loose and gestural the figures and marks are.



This slide illustrates the initial blocking in of color. Notice that we are working with large simple blocks of color or shape, always work from large simple shapes down to smaller more complex shapes. Resist the urge to jump into details.



More color is being introduced. Notice that the artist is starting to work into smaller shapes and that some areas of the underpainting are showing through. You do not have to always use a neutral color but you can see here why it may be helpful because it is harmonious with the palette being used. Imagine if the preliminary underpainting was completed in a bright red or neon green and imagine the effect that might have.



The artist is continuing to refine the painting and developing a nice range of values by mixing tints tones and shades of color. Edges are being cleaned up and objects are brought to a higher level of clarity.



This is the finalized painting. At this point the artist has provided "eye candy" using fully saturated jewel like colors to add details like the lettering in the sign for the restaurant.



This is a detail of one of the figures in this painting. This is a wonderful example that sometimes less is more. The face of this figure is merely suggested through tonal variation as opposed to being meticulously rendered. As an artist you will have to make decisions about how much information to supply the viewer. This is an extremely useful tool to guide the viewers eye around your work.

Sighting Review

*Poached from MCC Drawing Blog

"You can estimate proportions and then check them with a fair degree of accuracy by employing what is called the thumb-and-pencil method of finding proportions. This is done by simply placing your pencil or pen in your hand and then holding it at arms length between your eye and the object that you plan to draw. Here is how:



(1) Hold your body rigid and extend your dominant arm (usually the right arm), pencil in your hand, to its full length.
(2) Place your thumb against the pencil as a gauge (sliding it up and down or to the left or the right, depending on the unit of measurement you wish to establish).

(3)Bring the pencil on a line with your eye and the object that you are measuring.
(4) Try to find one part by which you can then measure the rest of the object. In the diagram above, the head is used as a unit of measurement to determine the length of the subject's body. This is done by aligning the tip of the pencil with the edge of the snout, and the thumb is resting on the pencil to where the head ends at the start of the neck. The tiger above is thus, six heads in length.

(5) Once you find a part to which to measure the rest of the parts of the object, you can then proceed to put in the object’s details, still using the same scale of measurement in which you established.



An example of how to use your pencil as a measuring stick to find the height and width of the house with the use of your pencil and thumb. You can also find the angle of the roof with this method. In drawing the house (as shown above), the height of the chimney might be taken as a standard of measurement. Hold the pencil upright, the top on a line with the chimney top. Now move the thumb downwards until the end of your thumb comes between your eye and the bottom of the chimney. Then draw the chimney. Repeat this measuring operation, finding where the length of the chimney corresponds to other parts of the house. Your pencil can be moved between the house and your eye and by using the chimney length as your standard of measurement, the corresponding length and width of the house can be estimated.

With the pencil and thumb measuring technique, you can even find the angle of an object, such as the house’s roof. Just hold your pencil parallel with the object (in this case the roof). Then, without changing the position or angle of your pencil, just bring it down to your paper and make a light stroke indicating the angle.



Likewise, by sliding the pencil up or down so as to increase or decrease its length between the points ‘a’ and ‘b’, (shown above) you will be able to check the height of an object as shown below. The same principle applies for heights and lengths/widths.



Above is a demonstration of the height of a cone being checked, while the bottom demonstrates the width of the cone being checked.

This thumb-and-pencil method of checking is easy to understand once you experiment with it. Be sure, however, that you do not change your position or distance from the model once you have started to check, since distance and position change the appearance and size of any object under study."

Deadline Revision for Advanced Class

6th & 8th Period Students,
  Due to the Hurricane, election, fire drills and other exciting events of late I am extending the deadline for your final Still Life drawings.  Originally these drawings were set to be turned in tomorrow November 8th, I will now accept these for full credit between Thursday November 8th and Friday November 16th.  Please make sure to adequately prepare enough time to FULLY develop your image ( remember a fully developed drawing may take upwards of forty hours to truly develop values, textures and refine forms ). 

*ALL STUDENTS- Please note that all work that you are missing needs to be turned in by  Friday November 16th if you wish to have it considered for your first marking period grade.  Please remember to check your StudentNet account for the most up to date grades.  Have a fantastic day!