ABSTRACT
In Alexander Dobkin's book Principles of Figure Drawing, there is a chapter on methods of drawing. He begins the chapter by suggesting that by experimenting with different ways of drawing, you will learn which way is best for you. He suggests, however, that no “good artist” abandons all other methods after choosing one particular way, for he may find different methods will be appropriate for different needs or problems. He also suggests that artists are always searching for a better way of saying what they mean. Dobkin lists four methods:
Contour drawing. It outlines the form in line. He says the beauty of this method is in its spontaneity. There are no erasures or renderings.
Rapid indication of form. I'm going to quote him in full here because it is my belief that this method is most suitable for animation. “Rapid indication of form involves a different kind of observation. Here the artist observes the main direction of a body and indicates it as completely as he can. He then goes back and finishes every part to his satisfaction, taking his time (well…not too much time), for 322even if the model can no longer hold her pose or is no longer there, the lines of her movement have already been indicated.” I interpret the “different kind of observation” to be the kind we are striving for in class – the ability to see action/gesture in our minds before we start to draw. In the drawing class, I call this “getting a good first impression.” Most of my “handouts” and class suggestions have to do with this approach.
Finishing one part at a time. Here the artist usually starts with the head, finishing it before going on to another part of the body. He suggests, but I don't wish you to be tempted by this, that this is the best way to work from the model. However, he says, many artists feel this method teaches the artist to be careful and observant. So perhaps there is merit in it for study purposes.
Let me suggest, since you have to start somewhere, to start with the body, for the body is the foundation upon which all the appendages are attached and are dependent upon for positioning. If you locate the body, gesture-wise, you have somewhere to connect the neck, arms, and legs, eliminating the need to shift the foundation because you built the kitchen too far to the west. https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780080928234/9b18bc6f-5304-498a-8de8-fcf2e79382cd/content/figpg322_001_B.tif" xmlns:xlink="https://www.w3.org/1999/xlink"/>
Trial-and error-method. This is enjoyed by the largest number of artists. But this is for the artist who does not have a prerequisite, an idea of what he wants to end up with. “The drawing glides along,” Dobkin says, “and is conditioned partly by the artist's concept, which may be incompletely formulated, and partly by what he already has on the paper. Often the lines themselves will suggest an entirely different picture from the original conceived in one's mind…. It's worth lies primarily in the possibilities it opens up for inventiveness and experimentation.
