{"id":4144,"date":"2012-07-27T19:32:04","date_gmt":"2012-07-28T00:32:04","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=4144"},"modified":"2014-12-14T19:35:00","modified_gmt":"2014-12-15T00:35:00","slug":"cut-to-the-quick","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2012\/07\/27\/cut-to-the-quick\/","title":{"rendered":"Cut to the Quick"},"content":{"rendered":"
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Julio Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

As the 2012 Olympic Games get underway in London, we’ll have an opportunity to observe the elegance and power of the human body in action, diverse kinds of bodies honed through intensive training for different skills. \u00a0Here I salute the occasion with my own studies of the body from figure drawing sessions at Figureworks Gallery in Brooklyn and Spring Studio in Manhattan. \u00a0 All of these sketches are made with watercolor and brush during sequences of two-minute poses. \u00a0The illustrations are presented in random order, and the interspersed text is not specifically related to the adjacent images, but generally to the whole collection.<\/p>\n

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Alley Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

A sequence of quick poses is a kind of dance, as the model moves from one position to another to reveal the anatomical structure and the expressive range of the body. \u00a0The artist has only a moment to capture whatever can be captured. \u00a0I am fascinated by the variety and dynamism of quick poses – the models can do all sorts of things that would be impossible or painful to hold for even a five or ten minute pose. \u00a0Knowing that the timer is relentlessly counting down, I enter into a mode of hyperfocused flow, my eyes and my brush both in constant and coordinated motion. \u00a0The only way to get anything interesting is to work with swift efficiency.<\/p>\n

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Gwen Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

Here I’m posting complete sequences, so you’ll see some awkward passages as well as some lovely bits of brushwork that reveal something true of the model’s aliveness or individuality. \u00a0Every real brushstroke is a rough approximation of the ideal brushstroke into which the visual cortex is translating the forms it perceives. \u00a0I’ve been practicing this for many years, so my approximations are pretty good when my focus is on. \u00a0It’s more important that the lines be confident and expressive than that they be accurate. \u00a0If I were to stop to measure or take a moment to step back and look critically at the sketch, I would hardly be able to get anything at all in two minutes. \u00a0I have to go unhesitatingly with the flow, and trust the flow.<\/p>\n

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Pedro Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

I look for curves – the curve of the spine, of the hip, of the neck, of the knee, and make each curve a stroke of the brush. \u00a0I try to emphasize what makes each individual body unique, not to genericize the anatomy. \u00a0That uniqueness is in the curves. \u00a0The curve of one person’s hip is quite different from that of another’s hip. \u00a0I always look for the physical idiosyncracies.<\/p>\n

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Crolie Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

I generally omit or radically simplify faces, hair, hands and feet. \u00a0Those parts of the body are detail traps, best saved for more leisurely studies. \u00a0But they are also often key to the particular expression of a pose or model, so I try to get some indication of their angles. \u00a0The direction of a gaze, the splay or curl of the fingers, the twist of an instep can be the detail that makes the pose come alive in the sketch. \u00a0For me, angles and curves are practically the whole of quick drawing.<\/p>\n

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Eric Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

Quick poses are a special exchange of energy between model and artist. \u00a0A set of quick poses gives the model an opportunity to perform, to stretch out, to test their limits, to offer contrasts of feeling or form. \u00a0As the artist, I cannot let such a gift go unappreciated. \u00a0When a model is really giving the energy, drawing is like dancing with a fantastically graceful or dynamic partner – complete abandon is the only appropriate response.<\/p>\n

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Claudia Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

A kind of time dilation can occur during quick poses. \u00a0From my own experience as a model, I can tell you that holding a challenging pose can make two minutes seem like an eon. \u00a0For the artist, a pose that’s complicated to draw can make two minutes feel like a few seconds.<\/p>\n

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James Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

Observing angles is a quick way to see how one thing relates to another thing in space. \u00a0When I’m doing quick sketches, I’m making lots of lines that I don’t draw. \u00a0In my mind, I make lines between points to see how they relate in space. \u00a0I check the angle going from nipple to nose, or from fold of elbow to bulge of heel, or from where the arm meets the leg to the pubic ridge. \u00a0When all of those parts are in the right angular relations to each other in space, proportions will be a fair approximation of the reality.<\/p>\n

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Robyn Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

Sometimes it’s easier to see curves and shapes and angles by looking at the negative spaces, the places where the body is not, and how those places relate to each other. \u00a0Or the angles of the body may become clearer by seeing them in relation to straight lines such as a wall or surface, the pole the model holds or the wall on which he leans.<\/p>\n

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Adam Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

I’ve pored over anatomy books, assimilating as much structural understanding of the body as I can, but I depict only details I can see. \u00a0The knowledge helps me to grasp these features of the body, but I can’t get lost in an analytical breakdown of the body. \u00a0I try to get as many anatomical details into the sketches as I can, because these details individualize the body.<\/p>\n

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Tin Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

Curves and angles, negative spaces, spatial relationships, anatomical details, flow and rhythm – it’s a lot to see and a lot to try to depict in two minutes. \u00a0The only way to do it is to merge perceiving and drawing into a unified process. \u00a0This is achieved by trying and trying and refining through hundreds of hours of practice.<\/p>\n

When you watch an Olympic gymnast, you are seeing someone who has developed a perfect unity of perception and action through relentless practice. \u00a0Drawing is more subjective, but the learning process is similar. \u00a0All the details have to come together, to become one act.<\/p>\n

\"\"<\/a>

Claire Quick Poses, 2012, by Fred Hatt<\/p><\/div>\n

All of the original sketches in this post are made with watercolor and a brush in 18″ x 24″ sketchbooks. \u00a0Multiple pages have been stacked vertically in the illustrations so a whole series of quick poses appear in a single image, as though the drawings were made on a scroll. \u00a0Action sketches actually made on scrolls, drawn by me more than a decade ago, can be seen in this post<\/a>. \u00a0I have also written previously about the similarities between life drawing practice and athletic practice, here<\/a>.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

As the 2012 Olympic Games get underway in London, we’ll have an opportunity to observe the elegance and power of the human body in action, diverse kinds of bodies honed through intensive training for different skills. \u00a0Here I salute the occasion with my own studies of the body from figure drawing sessions at Figureworks Gallery […]<\/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":[213],"tags":[59,133,269,17,41,270,44,21,96,22],"class_list":["post-4144","post","type-post","status-publish","format-standard","hentry","category-figure-drawing-quick-poses","tag-anatomy","tag-art-modeling","tag-dance","tag-figures","tag-ink-brush","tag-movement-drawing","tag-nudes","tag-process","tag-sketch","tag-technique"],"yoast_head":"\nCut to the Quick - 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