For better or worse, sometimes my academic tendencies get the better of me and course descriptions end up sounding something like this:
“Working from a live nude figure model, students will begin hands-on experimentation through guided instruction on how to see, articulate and draw the human figure both still and in motion. New techniques, inspirations and strategies will be demonstrated to provide students with insight on how to think about the human form as an armature and inspiration for their own wearable art designs and creations.…”
But please let me get a bit more real for a second and offer you this translation:
With a beautiful nude model in the room, you won’t be able to control your creative impulse as ideas spill fourth, studies develop, and you come to see and think about the body in ways you may never have before!
Linda Berlage -Metz, a talented artist from our February workshop so beautiful channeled this energy as she studied our model both still and in motion. I remember being slightly mezmorized by what was happening on Linda’s easel as the drawing session evolved.
Simple warm up exercises quickly developed into loose, fluid and active translations of the motion and movement she was seeing in the model before her. Capturing one movement at a time and not using the drawings as a means of rendering the body exactly as she saw it – but instead connecting with the rhythms and motions of these movements to create page after page of lively marks that still evoke the various gestures and motions seen in our model.
And be sure to take a good close look at the photo of Linda above – working with not one, but two drawing tools….one in each hand! Seeing such an open response to the exercise was truly exciting for me as an instructor – and I still smile when looking at these images.
Wearable Art and the Body – May 28-29, 2011. For more information contact: firstname.lastname@example.org