289S992065 board.The bottom row contains an attempt tointerpret the fom of the basic igure in format. Student of painting first psychological impression made by seated osesat the same time clearly indicating the connection between the pelvis and Stdies of standing and seated poses in repose
O DESORATVE FRETE OMED This work was done after a discu ssio about Greek vase painting.The figures are freely invented usinga movable pno We are again concemed with fluidity of movement;also with the significance of positive and negative figures.Preparatory 2HS国 Chapter2 29
2 IMENTHA THREE oristle bru ed.Parts of tone From the Salzburg intensive course,1988 33 FLUID BRUSH DRAWING watercolor brush are very well suited to the task From the Salzburg intensive course,1988 The preceding studies of seated poses cenpoiandnihcearonor is used here as well as indication of the main broad masses. Demonstration study by the author, froma Bammes course at the Schule fur Gestaltung,Zurich 30afahgadsadpsare
Chapter2 31 Suudies of standing and seated poses in repose
3. ing the course of real movement.The reverse is true of Studies of locomotive and expressive movements eprescnatosinioqeston.aemthoeofngmoCmens To a large extent the studies illustrated in figs38-39 are based The transition to locomotive movements is always the on visual memory,visualization and sympathe consequence of disturbed balance,with the body's center of ed ou gravity shifted forward over the tipping edge(the front of the ticular discussions of structural e applied when undertaking lively imaginative work. the body leaning forward,perhaps still at the very moment when the swinging leg is not yet ready to take the body's weight.This 41.The mode makes the observer feel uncomfortable.We perceive any such The above his head or her back,sometimes standing still and For this is the brush whi can react quickiy.s double support of the wide apart legs,into the instantaneous of falling.what a disaster itou bel We accept lively, the volume tapers.However nt or virtual forward if the brush is constantly lifted off the paper and reapplied,no ented flow of movement will be created and you will have only splodges.The esth simultaneously which go through the body and seem to lift its 40 physical weight. on draw ng is are ony he or she ment with a Yone leg i .The tip of the pencil is aso useful when you need to gointo individual aspects in more detail or todarify a three dimensional effect,foreshorteningor an inter whether you could not also hold still in such a position.Usually already have some experencec se the st the answer is yes. The bh of the le out of n the chanters on portion.structure and movement we of mo ting a brisk march.the fo ard no sition haste figural priorities that you should aimfor In future studie and the backward positionwith the body behind thefrotfoot dawdling or hesitation ( Both figs 36 and 37confirm that nce ith the specific tendency fig37).means that these are not genuine movements.The dancing movement (fig.35)shows the transition toward expressive movement Essentially it expresses an atmospheric through the simultaneous movement of the limbs for rative works,produced after lookingt