Drawing Unknown Faces, part 72

24 Apr

Studying Bridgman is quite tougher than I initially thought. Even so, it is helping me to improve my drawings, as you can see in the following example sketch.

Drawing Unknown Faces, part 72

Of course, I made mistakes, but I was able to catch those in an early stage of the sketch. Approaching your object as something architectural (no disrespect to the human depicted), rather than an interacting human, places enough distance between the end result and what you’re doing while drawing. Your mind is busy doing the process of making a portrait, instead of worrying about how it will look like when it’s finished.

I guess you could call it a Zen-like approach, where if you just concentrate on what you’re doing right now, trying to do your best at each stage, you end up with a result of intense concentration and precision, instead of something that is the product of constant worrying about the end result (which I know from personal experience is counterproductive).

Of course, this only works if your process is valid, which is where a drawing method like that of George Bridgman comes in.

This sketch was made with HB pencils in roughly 55 minutes, and is based on a reference photo I grabbed from the Flickr public photo stream.

That is all.

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