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Hi all:
Here we go.
It has been a long time since we have all drawn from Andrew at one time, and even longer since we have done a back pose. Some of us, myself included, tend to avoid doing back poses simply because of the lack of real indentifiable landmarks that are on the front side of the figure. So the back becomes a real challenge.
This challenge forces us into really looking carefully at what is really going on here. First off we need to observe the sweeping curve of Andrews spine in this one... I would think that we all could just have a lot of fun drawing that curve over and over again on our page. And infact if that is how you want to build this one up, I couldn't blame you at all.
If you are at all like me you might need a bit of a specific reminder as to what is really going on there in the back. There really is a lot we need to pay attention to. I have referenced a couple sites below here. There are many more and perhaps some of you have other sites that may be even better, but these should get you started if you feel you need to.
http://www.missouri.edu/~mla49/Anotomy.swf
http://www.gwc.maricopa.edu/class/bio201/muscle/musc14.htm
http://mywebpages.comcast.net/wnor/lesson1superficialmusclesofback.htm
So what we will do is a drawing or a painting of this this pose. Paying special attention to the gesture and movement as well as trying to help the viewer understand some of the underlying structure of the pose. I am not suggesting a medical type anatomical drawing at all. But lets make it a quest to be sure that what landmarks there are to be seen because of the muscles and the bones are obvious. The back is a subtle place to play, so this may be a difficult one.
Here is where I thank the model for the pose. Andrew, this is a wonderful pose. Wonderful in its simplicity and movement. Like I said earlier I tend to shy away from back poses for all the reasons i explained, but this one spoke to me. I am looking forward to seeing what the group does with this project.
So, on that note... LETS DRAW!!!
...royce
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