Thursday, 31 October 2013


Ok, REALLY sorry for the delay in getting this  post sorted. The  deadline for my new book is a bit punishing.
First off, I will recap on the figure drawing stuff some of you were requesting.
 I  generally approach figure drawing like this...

... loose and  sketchy.
I know that some of you find the braek down shapes more helpful so I wil recap on those right now.
When I used to use this method of putting together  a figure drawing, I would use an oval shape for the head, a kind of egg shape for the body, cylinders for te arms and legs and spheres for themajor joints, such as the shoulders ,elbows and knees etc.
You could also try the even more simplified version of  this by creating what is generally refered to as a skelton frame

The important thing to remember when creating any figure drawing is how the body  works and how each movement will have an effect on the rest of the body, whether it be a bent knee, a tilted head or shoulder etc.
Study the arrows indicating the direction of the tilt due to the  body weight  being placed on the right leg.

By the way, if you are wondering  what  the three vertical lines are for, I put them there  in case they helped those of you  who have a tendency to  lean your figure work slightly. If you find that this is still the case, just draw some feint vertical lines one central and two either side. So if this helps.

The drawing below may look a bit complex at first ...
...but once you realise it's just a collection of shapes... can position them to create all kinds of  poses. Ok, easily said than done, I imagine some of you are saying,  but just remeber, I had to put lots of practice in to figure this out. Just keep drawing, and looking, and seeing, and drawing.

Here are the breakdowns of the fairy sketch we started in class.
If it helps, just go for capturing the shape created by the legs and body first and then add the arms

Play around with the position of the wings to see which works best. Try to make them compliment the body of the fairy.

This pose could suggest a number of scenes...

Hands are easy to draw once you realise that they break down into  managable components. The palm is usually pretty much square, the fingers can be constructed using  cylindrical shapes and spheres for the knuckles. Study your own hand. Draw your own hand. Keep drawing your hand . You've prbably heard the saying, " I know it like the back of my hand", well, don't just know the back, know all sides, insideand out. This is what will enable you to draw hands really well. 
If you are going to use these construction shapes to  draw a hand, DO NOT get too wrapped up in drawing perfect shapes. Figure drawing is as much about feeling your way around the frame . The diagrames presented here are just for clarity. Loosely sketch your groundwork as in the examples shown above.


Boris Vallejo.
 A Peruvian born, American artist 

Tuesday, 22 October 2013


DRAW, PAINT OR PHOTOGRAPH A LANDSCAPE AND WIN £100 (Worth of vouchers) and other cool stuff. You can post entries to the library, the address is Dagenham Library, 1 Church Elm Lane, Dagenham, RM10 9QS or message scans etc to Amy Louise Elizabeth Pope . There is an extention for entries, 31st October.

Tuesday, 8 October 2013


This is just a quick post to throw up  a few images to help you with the current project.
Here is a rough work of the current project. It's inspired by the bar  (the titty twister) scene in From Dusk Til Dawn (directed by Robert Rodriguez)
Robert Rodriguez

Here 's some architectural images that may be useful. I try to take a camera every where with me (or at least a sketch book) to record information that may be useful later.  Pics 1,2 and 3 are of the cathederal in Truro, Cornwall.

For anone who could not play those youtube videoes in the last post due to ipad/iphone compatibility, here are the links.
                              November rain video, worth watching for the Slash solo 4:10 minutes in
The Ramones

Thursday, 3 October 2013


I  think everyone has made a good start during the first two weeks of the course. Good work everyone. Just to recap on what I was saying in class, during my journey as an illustrator I discovered  that one of the best  ways to capture the dynamics and energy of of movement is to study your subject matter in action, whether it be human or animal. If  the subject matter is not easily accessible at first hand, try and source recorded material whether it be on film (dvd,blueray or whatever) or youtube. These days you are able to access most reference material. All that is left for you to do is to study and apply it to your work.
For those who may want octopus footage (without having to look for it) here are a couple of clips.

and as the top half of the drawing , for the first exercise, is human , I thought you might like to study these clips.

Emma, in answer to you question about your achitectural work, Have a look at Ken Adam's work. He's a very prominent set designer for the film industry, responsible for  the impressive sets for the early Bond  films and Stanley Kubrick's Dr. Strangelove.

You Only Live Twice


Stromberg's floating island/hideout in The Spy Who Loved Me

You may be able to track this book down, 

Ken Adam Designs the Movies: James Bond and Beyond

Here are some links to blogs and sites that display Adam's work

Also, have a look at the sketch book drawings in my facebook album, 
Look at using solids to isolate and draw attention to your main point of interest.

Check out Simone Biachi

Some homework for next week. Watch some youtue videos of live rock music. Take not of how the instruments are played and  the movement and swagger of the musician.
Here are a couple of examples.

November rain video, worth watching for the Slash solo 4:10 minutes in

If you don't like rock music, turn the volume down.
Have fun!