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Helen Capewell
OCA Learning Log
Student Number: 522802
Degree: Illustration
Current Level: 2

Exercise 2.0

Rapid Sketches

The Set-Up

So looking around I wasn't too sure what to use in my set-up. House full of plants, it was difficult to avoid including at least one, however it was obvious my focus was very quickly put on an ornament I thought would be perfect for rapid sketching! The lumpy and bumpy hand sculpted texture of the curvy figure made it a perfect model to explore the technique with. She even continued into the limited line exercise.

Setting the timer for 3 minutes I began with the sketching. The image below is numbered to direct you through my journey.

Usually I find I can be quite quick with sketching without a timer, I don't feel precious with lines and so the looseness allows to move around quick and actually results in getting more down than expected in the sketch. With a timer ticking away it can pressure you to go even quicker, which often you over estimate and in the end find you have time to spare. I don't want to over work these sketches, too much time can lead to loosing the loose and rapid look. It's a good practise for learning when to stop - even if it is less than what is on the clock.

With a solid page of 3 minute sketches complete, I decided to jump to the 1 minute sketches. Having gotten a feel for free minutes, I wasn't quite sure what to expect with 1, all I know is that decisions will need to be made. How much can I get done?

OCA Life Drawing With 2B or not 2B Collective

This wonderful event came at just the right time for completing this section of the course. With a focus on movement, the session was broken down into several rapid sketching time slots, from 1 minute to 5 minute. During this we also had the opportunity to try Dynamic drawing, something that is discussed in a later exercise.

Dynamic Pose - 5 Minutes

Starting from the far left of the double spread, I quickly moved across the page in an attempt to demonstrate how the model had moved across the space. I wanted parts of the figure to be visible, however the challenge to keep up with the model tested me on a whole different level for rapid drawing, and in someway made it difficult to even get a figure down.

I least enjoyed the dynamic poses most. I think I understand why it is good practise, as not always are we blessed with even 5 minutes of a still figure, but I don't know if it is really something I would do more of. It isn't work I can look back on when in this format, and if it was sketches done on location for research on a larger, more detailed piece it wouldn't make sense. I don't find it useful as something I can return to and continue working. However, the fleeting moment of the sketches across the pages is an interesting concept and something that can be preserved for what it is. I will of course try this again and perhaps work on improving to a point that I feel works for me. On this occasion I believe using a ball point pen was the wrong choice in medium. I think this sort of continues movement lends itself to a thicker tip, like graphite or charcoal. Even using ink and brush might result in something interesting.

Is it a matter of less is more? Using deliberate lines to hint of a pose? Can simplifying the figure into the most basic form by focusing on just a line of action be the best method to capture dynamic poses?

I decided to give the process a second chance, this time watching a piece of performing arts on YouTube. Adjusting the settings, I wanted to drastically slow down the pace so that the movement felt consistent and not sporadic.

Line of Action


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