Creative Process: Gesture / Drawing Passionate Gestures

1. Introduction: Hello, I'm Jennifer Morehead. I'm a retired art professor and also professional artist. I'm so happy you're here to be taking my class. The class is called drawing passionate gestures, and it's formulated into a Siri's that's called creative process. Artists, Essentials and this Siris are standing along classes that she could pick and choose which one you want these classes all formulated to learning finer skills. Within the gesture class, you'll be learning how to make gestures, why you're making gestures and feel confident at the end of the class to be able to make wonderful Chester's. I feel anyone can learn how to drop, and I'm here to teach you just that. My own unique style, this classes for beginner as well as Advanced Student. You'll be learning my tips and techniques of learning the really fine art essentials. I'll teach you really how to understand art, and it's going to be in fun, wonderful exercises that you feel very confident that your progression materials list for this class is pretty basic. You want a sketchbook at least nine inches by 12 inches, not a newsprint, regular paper, pencils, soft lab, which is easier to work with like A to B four, b six b and pens. You want a medium point A Roller Inc So it's easy to move around. This is the overview of the course. You begin by learning about what a gesture is and all the rest of time will be Hands on experiences that you'll be falling along with me so you really get an understanding how to draw and develop your own style along the way. Way will first start out with doing gestures and they'll be 12th gestures. So you're really getting to move your hands very quickly and literally learning how to observe and draw next will be going into massive gestures. These will be taken a little more time and again learning how to improve your lying quality . You're definitely drawing for observation, always learning about how to see here. We have active gestures, moving lines, developing an artistic understanding of art, progressive gesture, which is a progression of movement. Notice how they do get better as you keep going with it, and I feel very confident work really get a control of your eye and hand coordination. It's an excellent skills learnt and then lastly we end up with a creative process of of really understanding of working gestures and how you build up your own style. Through this creative process, which is a visceral, which is an intuitive process, you'll really learn the artists essential of making passionate gestures. 2. What is gesture?: what is gestured My definition and fine art is expressing a feeling to go beyond that. When you're making gestures, you're actively thinking versus a Hezb E in activity because a gesture could be from anything you're gonna be learning how to make marks that have meaning. You're just not going to be doing marks over and over again. You're gonna feel the object as a whole and not dissecting and trying to piece it together . You're drawing from the inside out, meaning you're not doing. Contours and justice are really an exercise and seeing it's how you learn how to see. And that's how you learn how to draw this. Just er has been done in just seconds, and you'll be doing gestures also in seconds up, two minutes. Reason behind doing it so quickly. You don't have time to rationally think about what you're drawing. You're drawing that immediacy. It's breaking you away from your pre conceived idea of the figure. This is certainly the first step in learning how to see. Just look at the energy in those lines. If you could just feel that motion, this one. We have a progressive movement going from one stage to another. The lines are very exciting. Movable fluid. That's what you're wanting to create. This is another progressive gesture. Notice. It's different in style from the last one that she viewed. The interesting part about making gestures is you really creating your own style as well. You will be drawing alongside me with some of the gestures in this class, but I want you to draw intuitively, and I want you to draw in your own way and not to draw exactly how I'm drawing. Where did gestures evolved from? They started in prehistoric times. Your cave drawings where they really developed in was the renaissance. Time to start out with my first Renaissance painter, artist, sculptor. We have Michelangelo. He knows he's not real concerned with all the edging on there. But he's just working out ideas and you can see in the upper right is she has this large face. You have to figure to the left of him the whole composite of figures. So he's working out ideas. The next one we have here is by Dom E. A. Feel the passion in this one moving lines. It's just so beautifully drawn Way had won by Rembrandt. Few strokes. You could feel the relaxation of the figure and laid on the bed. And it's all the drapery around just beautifully done. So this is not a contour nor stick figure, but describing the movement that connects forms. Let's further investigate another artist. This is Matisse, so we're getting more modern with pieces. You can see the movement that's being created here. This gets formulated into his painting called The Dance, so it does actually have a rhythm to it. Here's another artist. He's a sculptor by the name of Anthony Craig. He's has his work sub papers because artists also do gestures considered finished drawings . But he's done preparatory work also for his sculpture pieces. This is won a Tony Craig sculpture piece. Look at the flowing lines in the movement. Definitely see the passion in peace. Another artist, I thought would be interesting to show you is Frank Gehry. He's a designer, he's an architect, and I thought this piece was just great to show you what he's looking at, this basket that's upside down and how he's formulating his ideas to make a chair. So look at the gesture inside. It has those wonderful flowing lines that really pieces together, his energy and his innovative thoughts. Here's a gesture drawing by Frank Gehry, and this is for a building structure. Look at the lines and it just years trying to think. Where is this going to go? I just thought it was great. I just love this piece. This is the Guggenheim Museum, the one that's in Bilboa, Spain. And to see those wonderful lines, I think it's just fabulous. Gesture is in everything you look around, really absorb that capture the passion and seeing the rhythm. 3. Gestures: I'm going to share with you some tips and techniques of making a very dynamic gesture. I'm gonna be working for my hand and you can follow along with me on using very large parker just so that you can usually see. But I prefer that you use a penner pencil, put my hand a position. I'll begin. We're working from the inside out, and I'm making flowing lives. Continual flowing lines that are going out to the edge using iris traits are more control. My and I'm loathe paper less than I'm looking at after. I want to be drawing what I see the's air Helpful tips and making gestures have a continues flowing line. Don't lift your pen or pencil off the paper and keep those moving lines to work out to the edge of the form. Keep your wrist straight. You'll have more control. If you're moving your wrist around, it limits that look at the object. Morning. The paper. If you're looking at the paper more than the object, then you're not really looking your again doing preconceived ideas. Another really strong one. It's stand up while drawing so you're not is restrained. All of these together. These were really helped develop your eye and hand coordination. Now it's gonna be fun. Get your sketchbook in your pen ready because it's time to draw. We're gonna be doing 6 12th gesture drawings following 3 15 2nd gesture drawings and then ending up in this session with 3 32nd gesture drawings, make sure that you draw within that time frame. If you don't make it, go back and re draw it again. It's real important to finish these drawings in this time. It's really gonna help you toe understand and learn how to draw. - Don't get too overwhelmed. You're doing great. You can always go back and redo these again. Make sure you feel the whole pages later on. This will be helping Newedge portions. We have two more 12th gestures after that 3 15 seconds and then following with 3 30 seconds . Enjoy this. Don't get frustrated, which you should be thinking about right now is the scene. Feeling and drawing seen is looking at the figure or looking at what your joint more than the paper. So you're observing feeling is not your connection with the figure of the object. It's a feeling of the drawing and the passion inside you. So putting all these together really makes an effective gesture. - Remember not to throw away your drawings because it's great to go back and reflect and see what you've done and see the progress you've made. And also you'll start to see the development of your creative stuff. Certain things that you see repeated over and over again that's just your own. 4. Mass gestures: this segment, we're gonna be working with mass gestures. Mass gesture differs from linear jester because you're gonna be adding more. It's gonna be looking more like a form. And I have been a me here just to start with just giving the idea, but I'm talking about I'm gonna have you fill the pages these at first. As you get more experience with gestures, you could make smaller ones go over with right now. Fill your page because you have to start looking at negative positive space. Start from the inside. So I'm gonna start around here, get I'm gonna be using pencil on the side of it. My lines are a little bit wander and I'm going in the center part. Then I'm gonna start with my edgy I'm going up to the edge. This really helps you observe objects so well. And even though dark on this side here, we have mass suggestion. Really beginning to see for this is what really helps you with proportion understanding the shape but working from the inside out. So you're looking and observing. Great. So we're gonna have time segments again. I'm going to show you different objects to work with mess gestures. In this segment, we're going to be doing 31 minute gestures just with one object. After that, we're gonna be doing to two minute gestures, and that will be three objects together. But like you'd be working on like a project. One exercise is just fine objects around your house or outdoors, and Jolie's 21 minute gestures. Any time you want to share them with me, we tried love is to upload them into the project gallery. His I would like you to go back and look at the last story that you did. The chair begin to talk a little bit about positive and negative space. Positive spaces. The object itself, the negative space is the space to ground. It will start looking at that negative space and looking at Issa's shapes. Is this shape correct? With object that you have looked at? You start seeing little shapes in here, this triangular shape that should be there. This type of shape isn't tilted. If it's is it straight or should it? It should be tilted. So those were things to consider, especially at our next series that we're doing for two minutes and three objects done only looking at the object itself. You're also will get the area around it. So you're looking everything is a hole. These are not intended to be perfect renditions. But beginning to get that feeling on the shaping is starting to evolve. So you should really feel good about what you're doing at this point. 5. Active gestures: this section is active. Massive gestures you'll be doing 31 figure in action for three minutes. Prior to these drawings, there will be two slides, 10 seconds each that you'll be doing a quick gesture all on your own, not a massive jester, just a very quick gesture. This will help you warm up a lot of times. These very quick gestures air warm up exercises to do all kinds of drawings on your own. I'd like you to draw at least five active massive gestures five minute time sessions and to choose anything that your passion about from yoga to rock climbing, ice skating, anything and these expressive gestures will be reflective of you. They'll come alive. They'll be dealing with the artists within you, and then you'll be seen a development of your own style. Now, with the size that you'll be viewing are things unpatched it about the biking in the running. I was on a travel on team back in Colorado, so I love that. And then, lastly is on schemed, used to ski an awful lot and also used to assist with the ski patrol out there. So I love all these and these are things that I'm passionate about that you'll see, but definitely be working on your own. This is a development process. Really. Enjoy this because you're going to be learning. Hang under the drawings because you want to go back and look on them. - Okay , now, that's drawing. I hope you're enjoying this. We got lots more to learn. 6. Progressive gestures: this section is on progressive gestures. What we're going to be working on with this we're gonna do three consecutive 3 12th poses, so they're gonna be very quick, and then you'll be following up with the same poses all together in a slow motion movement , and you'll be doing that. It's approximately 18 to 20 seconds for those, and the very last part of this will be developing your style and you'll be doing what's called an instinctual progressive gesture. The one image is there a create your second image, and these will be excellent exercises to work with. Also help you develop intuitive thought process and let your creative in mind explore the possibilities. This segment is very quick, and don't get frustrated with it. But just go through it and you have to go back and do it again. No problem. Just keep doing it and doing it. And then when you feel comfortable, that then get into the developing your own style. But there's an example of what I'm looking for. Figure will pretty much be in the same place, and then you just keep drawing it, showing the movement and overlapping this'll. One was done with a little more time. Okay? - Okay , go. Here. This is the image that we're gonna be working with. The ice skater. This is a nice post to it. The 1st 1 we're gonna do is going to be for a minute. And just to do her solely without doing the progressive, just a drawing, you'll just feel like, Oh, the lines just flow. And you just feel like you get all this time You really see a nice progression who worked. And then the next one will be for three minutes, Same pose, and then you're gonna be drawing her and then be creating your next pose with just like we did with the progressive lines. But this one you're gonna be creating enjoy. - Okay ? Yeah. 7. Creative process/ Visceral : this section is about the creative process, visceral and what I mean by visceral. I have a dictionary and thesaurus definition up here for you to view, but I'm talking about that instinctive. It's a gut that deep down feeling that is within every once you have that. Now we're going to develop that to produce art. Rollo May, who has a book called The Courage to Create. I Have a quote from him, is Creativity isn't in the person, it's in the act, so you have to actually be producing something, not just thinking about it. You have to be like be doing it the creative process. I think this definition is wonderful. The creative process is an encounter with an idea or inter vision, and the wonderful party puts in here causes the artist to feel joy. It has, ah, heightened consciousness that accompanies the fulfillment of potential. So it's there and now it's How do you develop that? We'll try and figure out what would be the best way to explain this to you. There was an exhibition that was held just a few years ago, was a faculty exhibition and the main purpose of it Waas your creative process. How do you go about created and putting the show together? So each one of us had presented it and did it in a different fashion. Interestingly enough, mind was dealing with gestures and starting out. That's kind of the process, and I start out with the title of my exhibition is called Soul and Soul. Of course, my passion at this time of my life is about horses. So I took my passion, and that's what I want you to do is to choose something that you just really love, and you want to explore and express the possibilities into your artwork. So that's what I call you're preparing for that one. Is you of Okay, this is what I'm going to start with. How do I begin? Sketchbook. You're gonna work out ideas and just just start drawing and just start drawing gestural drawing, because that's the quickest way of making a image with your thoughts, so that you know, you're visually looking at things and trying to piece things together. These air small, gestural pieces and I was thinking, OK, maybe I'll have interaction of animals with dogs in the horse and kind of something going in landscape. And so you just start developing things. This one word, actually, two different drawings and I kind of pieced together that we'll just do a multitude of them , a lot of action, things being created and again, they're just drawings and ideas, you know, it doesn't have to be perfect, Everything well drawn because you're just trying to figure out placement position ideas, and that's what just really helps you with. So you're starting that process. So I'm preparing all of these and really developing this work out Well, I just really love how that interaction is more did these more They weren't really coming out what I wanted. So I kind of sat down, and sometimes you have to just let it rest, and those ideas and creativeness will come to you. But you have to be thinking about, you know, subconsciously or could be could be sleeping. You could wake up in the morning that Oh, yeah, Now it all pieces together because you're you're already having those thoughts kind of evolving. So I started a piece it together more with singular horses, and I thought all that spirit. That's why I called it soul was just love the spirit of animals, trying to work with that and doing these drawings and having that free flow and maybe not having them all complete like that, that really essence of gesture and started working in the field. No SOS marks the left hand side, and I'm I'm using erasers. Noticed that we haven't used a racer all because racing is another. It's ticking time. You want to learn to draw me comfortably drawing. And then I go back in a race just to make another additive mark to it as a negative mark. That's kind of fun, so that, you know, I'm playing around with, and I'm getting more into what I feel of the basic essential that I wanted to bring out. And I really love the less that I do, the more that that feeling of what I wanted to relate to came through, so that was pretty exciting. Here we've got other ones, and I like that like that, that incompleteness and I found these to be really, really exciting stimulating. So not only did I use thes, but I also started to incorporate into paintings. I think my drawings more successful than my paintings. But that's part of art. And here's one here that I just loved. Is it drawing? So I incorporated into a painting. Painting was about 30 30 inches by 40 inches. Acrylic painting so very quick strokes and completeness. And I think it looks more and completing the drawing did so. But then I did some other things I like how this one turned out ahead of this one also is 40 inches high by 30 inches, and I have in that feels has a good feeling to me. I thought that was very successful. Also, I didn't a few of these, and these are on paper and there with water color washes with pen ink, and they're kind of really came through and had kind of that majestic look of horses that I just love mysteriousness and spiritual nous. For your project. I want you to figure out your passion. Start there, just start drawing and picking out ideas, really looking at how you want to do it. And it's through that process that you would be prepared to go through it so you could see what I had got on with that. Then you have to kind of take time to to take it all in and kind of let it let it maul around in there and then that idea that just like, ah ha, that illuminated idea just pops right there. That's a wonderful, exciting, creative moment. And then you could take that and implement it into your work. So let's see what you come up with. Please share your project in the project L A. Because I can't wait to see it. 8. Final thoughts: my final thoughts is that art is about being creative. It's about expressing yourself and really understanding the tools and processes evolved and really making wonderful pieces of work. Throw my experience. I'm really take a lot of time to research and pull together all of this to make it make it really worth your while to learn and understand. And it's kind of a condensed version what I teach in college, and I feel that if you really take the time and go through it and work with me and it, you just will be thrilled and have a I'm feeling joy in the S active learning in art. And with this series I'm just so thrilled about the creative process are essentials is that I really pulled together things that was very important to work from, just like the gesture, the gesture is and everything. And you really have that that feeling and composure, confidence to make wonderful drawings that's that's good. That's that's positive. At the end of this is I have a little bit of by Frank, are back that has really nice gestural pieces as well. Some people pieces of my work look for more my classes and enjoy the This is really about sharing all my knowledge skills. Pew. I just just thrilled to be able to do that. And I also offer advanced courses. So just a variety thinks arts a process. It takes time, and it's got energy. When you learn it, it's wonderful, okay?