Dynamic drawing analysis

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Composing the dynamic figure

Today is another analysis of a dynamic pose drawing that I wanted to break down and analyze the way Scott Silverman does on Schoolism. Below what you see is a breakdown of the cylindrical forms of the body, the basic shapes that form the figure as well as a few other key things I noticed. For instance we can draw a line from the top of the head all the way down to the bottom of the foot and see that this line intersects with major key points in the perspective, being the head and the front hand and leg. 

If one was to reproduce this drawing or to try to change it one could do so by simply playing around and using this line as a reference for where the landmarks fall. I also noticed  that the figure is able to establish a sense of "flow" throughout the piece by having a line that runs through the body in a zig zag motion that also intersects with this main line. We can see it here in blue where it comes down the shoulder and through the arm to the right leg and into the foot. 

What is also important to notice about the perspective of the foot is the cylinders perspective of the thigh is actually consistent on both ends. The ellipses are roughly the same size where as the bottom part of the leg we see the cylinder has a tapered effect, it goes down into a much smaller ellipse. Looking at the posture of the shoulders and hips we can see he also took the time to contrast the angle of these two elements.

Negative space

I went ahead and decided to block in some of the negative space I found in my manikin representation of the figure, while its not the same as the illustrated version you can still see that there is a swooshing that runs across the inside of the leg and the shape of this negative space makes it feel like its heavier on his back foot. Maybe just by the direction of the swooping shape. 

We get a similarly interesting shape in the negative space near his arm it is positioned almost as if the bottom part of the shape is position to point downwards like a knife going into the form. The shape is irregular but interesting to look at. Near his other elbow we see some use of negative space where he shows off some triangular shapes around his waist line. 

Shape language

Above Ive also taken the form andd broken do a silhouette of the form into two different colors, one pink and one red. I used the pink for every curve I found and the red for all the straight lines. What I found is is this drawing uses curves very infrequently keeping them to the legs, side of the body and neck. We could almost see these curves in the neck driving our eye down from the head into the torso through the arm to the legs since the curves can all be found at these major points. I really like how he adds interest to the silhouette by having bandages overlap and that sort of thing. 

I also decided to break down some of the major shadow shapes in a light blue and I noticed that the shadow shapes themselves have a swooping form to them as they wrap around the back bent leg and come together to form one large shadow that swoops across the legs and drives us into the front leg and foot where there is not as many shadow shapes but they are larger so there is the contrast between a bunch of smaller shadow shapes and large shadow shapes that adds visual interest and gives us the feeling his weight is on his back leg.