{"id":1644,"date":"2010-07-18T21:06:04","date_gmt":"2010-07-19T02:06:04","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=1644"},"modified":"2014-12-14T22:46:16","modified_gmt":"2014-12-15T03:46:16","slug":"movement-multiples","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2010\/07\/18\/movement-multiples\/","title":{"rendered":"Movement Multiples"},"content":{"rendered":"
\"\"<\/a>

Space Between (Anna), c. 1998, by Fred Hatt<\/p><\/div>\n

In the late 1990’s, an important focus of my drawing practice was capturing the energy of moving figures through expressive line.\u00a0 This week’s post is a selection of drawings from 1997 through 1999.\u00a0 All of these feature multiple renderings of the same pose in different positions.\u00a0 It was my attempt to introduce the dimension of time into the two-dimensional world of the sketch.<\/p>\n

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Nested (Ignacio), c.1998, by Fred Hatt<\/p><\/div>\n

In the drawing above, the transition of the figure from upright to fetal forms a natural nested composition, with different colored lines used to keep the phases of the movement separate.\u00a0 The drawing below is more like a stroboscopic sequence moving across the frame, reminiscent of this kind of photograph<\/a> I remembered seeing as a kid.<\/p>\n

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Stage Cross (Arthur), c. 1998, by Fred Hatt<\/p><\/div>\n

Here’s a beautifully simple study of the movement of the spine:<\/p>\n

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Spinal Movement (Francisca), c. 1998, by Fred Hatt<\/p><\/div>\n

In drawing from a model in motion, it is often impossible to capture the entire figure.\u00a0 The composition below arises from the bony contours of ribs and arms, shoulderblades and collarbones:<\/p>\n

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Bony (Francisco), c. 1998, by Fred Hatt<\/p><\/div>\n

A model who is an expressive dancer can convey feeling even in quick movement sketches:<\/p>\n

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Emotion (Anna), c. 1998, by Fred Hatt<\/p><\/div>\n

Here are two figures, with two phases each:<\/p>\n

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Turns (Heather), c. 1998, by Fred Hatt<\/p><\/div>\n

Here, the arm of the forward bending figure becomes the leg of the standing figure:<\/p>\n

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Unfolding (Caitlin), c. 1998, by Fred Hatt<\/p><\/div>\n

Ink drawing with a brush has the spontaneity of dance:<\/p>\n

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Motion 4, c. 1998, by Fred Hatt<\/p><\/div>\n

Here, the soft colors seem to be separating from the hard colors:<\/p>\n

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Stepping Out of Oneself (Miha), c. 1998, by Fred Hatt<\/p><\/div>\n

There are five fragmentary figures here, two drawn softly, in white, using the edge of the crayon, and three drawn crisply, in dark blue, using the point.\u00a0 The differing techniques make the white and the blue drawings appear to be on different planes:<\/p>\n

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Circularity (Corinna), c. 1998, by Fred Hatt<\/p><\/div>\n

The cool softness above is contrasted by the hot energy below:<\/p>\n

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Lunge (Claudia), c. 1998, by Fred Hatt<\/p><\/div>\n

At times, the overlapping lines of the figures cease being figures and become abstract patterns:<\/p>\n

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Grass (Anna), c. 1998, by Fred Hatt<\/p><\/div>\n

In drawing from moving models, I often focused on one part of the body.\u00a0 Here, it is the movement of the legs:<\/p>\n

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Legwork (Joe), c. 1998, by Fred Hatt<\/p><\/div>\n

The simplicity of the ink drawing below makes it possible to see many forms, not just figures, suggested in the flowing brushstrokes.<\/p>\n

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Motion 3, c. 1998, by Fred Hatt<\/p><\/div>\n

When the models movements suggest power and vigor, those qualities come through in the drawing:<\/p>\n

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Explode (Toby), c. 1998, by Fred Hatt<\/p><\/div>\n

A softer style of movement makes a softer drawing:<\/p>\n

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Shimmy (Nyonnoweh), c. 1998, by Fred Hatt<\/p><\/div>\n

The model for the next two drawings was a dancer whose movements all seemed to flow from a supple spine:<\/p>\n

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Spinal Flexure (Donna), c. 1998, by Fred Hatt<\/p><\/div>\n

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Leap & Turn (Donna), c. 1998, by Fred Hatt<\/p><\/div>\n

In the one below, the model must have been holding the poses for at least a minute, as there are relatively complete figures, kept mostly separated on the page:<\/p>\n

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Angst (Joe), c. 1998, by Fred Hatt<\/p><\/div>\n

Here two phases of the model’s changing states find expression in the drawing.\u00a0 The face, like a placid moon, looks down upon the thrusting figures below it:<\/p>\n

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Serene Vigor (Julie), c. 1998, by Fred Hatt<\/p><\/div>\n

I believe the drawing below arose from a model moving very slowly.\u00a0 As the upper body gradually changed position, I kept sketching the contours.\u00a0 In this case slow movement produced a sketch with a lot of energy:<\/p>\n

\"\"<\/a>

Twist and Reach (Lea), c. 1998, by Fred Hatt<\/p><\/div>\n

Many of these drawings look like they should be painted on the walls of a cave.\u00a0 They have the roughness and vitality of stone age painting<\/a>.<\/p>\n

\"\"<\/a>

Stone (Claudia), c. 1998, by Fred Hatt<\/p><\/div>\n

All of these drawings were done between the years, 1997 and 1999, mostly at the movement drawing sessions<\/a> I used to run at Spring Studio<\/a> in New York.\u00a0 The color drawings are done with aquarelle crayons and sometimes ink, and are about 18″ x 24″.\u00a0 Some of the ink drawings here may be as small as 10″ x 10″.\u00a0 The digital images used in this post were made in the same era as the drawings, by photographing the drawings on 35mm film and scanning the prints, so they’re not quite up to the artwork photography standards I try to maintain today.<\/p>\n

Note:\u00a0 The “Claudia” that is credited as the model in two of the drawings in this post is not the same Claudia that many of my readers know as the blogger of Museworthy<\/a>.<\/p>\n

My portfolio site<\/a> from this era is still online, and features a selection of movement drawings<\/a>.<\/p>\n

This week I’ll be teaching workshops and doing body painting and other fun things at the Brushwood Folklore Center<\/a> in Sherman, NY.\u00a0 I won’t have access to a computer, so forgive me if I don’t reply to your comments right away, or if the next post takes a little more than a week to appear here.<\/p>\n","protected":false},"excerpt":{"rendered":"

In the late 1990’s, an important focus of my drawing practice was capturing the energy of moving figures through expressive line.\u00a0 This week’s post is a selection of drawings from 1997 through 1999.\u00a0 All of these feature multiple renderings of the same pose in different positions.\u00a0 It was my attempt to introduce the dimension of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[42],"tags":[133,19,269,6,17,41,270,44,164],"class_list":["post-1644","post","type-post","status-publish","format-standard","hentry","category-movement-drawing","tag-art-modeling","tag-crayons","tag-dance","tag-drawing","tag-figures","tag-ink-brush","tag-movement-drawing","tag-nudes","tag-spring-studio"],"yoast_head":"\nMovement Multiples - 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