Gheno recommends moving quickly when you first begin drawing sketches. You shouldn’t worry about making mistakes. You need to get something on the paper before you can start making adjustments. Learn to sketch by regularly drawing quick anatomy sketches. It will help you maintain your sense of proportion while expressing the energy of a moment in time.
Many artists look to the torso to establish a sense of action in their figures, especially the contrasting tilts of the chest and pelvis. Italian artists called this effect contrapposto. Contrapposto literally means contrast or counterpoint, it’s the principle that the torso is not one solid and straight form but 2 contrasting forms.
Every pose, no matter how simple or bland, has a distinctive but subtle gesture and line of gravity. When portrait sketching, even a slightly off-center line of gravity can destabilize the look of a calm, relaxed standing pose. Try to grab onto some of that dynamic instability when you draw action poses.
Rhythm is especially important in anatomy sketches. The human body, particularly the nude human form, has enormous metaphorical and symbolic power. Don’t squander its potential, and don’t let your drawings—gestural or otherwise—become scholastic exercises.
The quality of your line is very important and it can make or break a pencil sketch. Emphasize the complex rhythms of your composition by alternating thick and thin strokes, saving your strongest lines for the dominant rhythms.
Use the masters for inspiration when you’re drawing sketches. Look for cornering effects in your anatomy sketches: For instance, in the arm, an elbow joint might jump out into space. Perhaps you could emphasize it with a heavy overcutting line. Look for bones, look for the separation of muscle functions.
Gheno’s sketching tutorial emphasizes negative space as a very useful and constructive force. Artists often use background tones to establish the limits of figures. Shadow masses can seem to bump up against a figure, riding along the outside of the form.
Looking at added issues that go beyond the visual of your pencil sketch drawing will help you get excited and motivated about what you are sketching. Even though you are working quickly, you should still think about composition or give some thought to placing the figure or object in an environment.
Once you know how to draw sketches, there is nothing more exhilarating than getting a good start on a drawing. And, often there is nothing more terrifying than watching your drawing evaporate in front of your eyes as it turns into a stiff, brittle echo of your dynamic beginning gesture. It’s very difficult to hold onto that initial gesture while working on a long-term drawing. Gheno shares some personal tips on how to translate the expression and power you captured in your initial sketch drawings into your long-term drawing or painting