FROM CONSTELLATION TO FORM: DRAWING THE FIGURE with Thomas LaPine

What breathes life into a figure drawing?  What breaks a two-dimensional figure drawing out of the picture plane, giving it a sense of presence?

In this studio-intensive workshop with Thomas LaPine, participants will fully render one naturalistic figure drawing over five days, learning to draw the figure through both perceptual and anatomical knowledge.  Each day, LaPine will begin with drawing demonstrations for the class to observe.  Participants will work independently and draw from the model after LaPine’s demo.  He will make rounds with each person for one-on-one mentoring throughout the class.  Some days will include slideshow lectures on academic drawing that will enhance students’ approach and understanding of capturing the figure.

The first couple of days will be spent blocking in the model from life, moving from general to specific shapes and relationships.  LaPine refers to the initial block-in as a ‘constellation’ of our future figure drawing.  Participants will learn how to read the body’s anatomy, from the tilt of the pelvis and ribcage to identifying bony landmarks, gaining a stronger understanding of the human form and making more perceptually accurate drawings.

LaPine encourages his students to think ‘sculpturally’ when blocking in the scaffolding of the figure: what forms are on top of the other?  The end of the block-in phase will establish clarity to these initial general shapes, understanding how to bring abstracted shapes towards convincing bodily representation.

After the block in, the next couple of days will focus on establishing value.  This is approached carefully through a small value study drawing, establishing a hierarchy of light to dark on a reduced scale.  From there, students will have a map for reference when adding value to their larger, final drawing in an organized way. In their value studies,  LaPine will help students identify their lightest light, light, dark light, halftone, shadow, and environment value within their drawings.

The last two days will be spent refining drawings to a unified whole.  Based on their value studies, students will add varying gradations of value to final drawings to create an effective illusion of light on form.  With our sculptural approach, we want to use value to break the drawing out of a flat picture plane.  While previous days have been spent creating general forms, values, and relationships, the final day or so will be spent clarifying nuances and more specific elements within the drawing.

Day 1 The block in is a simple scaffolding/set up of the subject in a series of concise straight lines and point to point relationships (one can think of a star constellation). Working with these more manageable parameters we want to initially simplify the complexity of the figure and focus on the large proportion and the dynamic relationship of major forms such as the head, ribcage, pelvis, and feet position. The large abstraction is vital for anticipating and developing a convincing light effect and specificity of surface that will come later on in the process. 

Day 2  block in continued. We will continue breaking down our initial larger relationships down to smaller, more specific and definable parts, similar to a fractal pattern. The initial process does not change from the first day and should still be concerned with the proportion and placement, additionally we are now considering more what this abstract scaffolding is actually defining. For example, we will be locating bony landmarks and clarifying the contour with the understanding that our initial flat abstraction is transitioning into a block in with a stronger sculptural read.

Day 3 is an opportunity to finish the block in and to develop a value study. The value study should take no more than an hour and half but with its aid, we will be able to develop a clear light effect of the model and begin to develop a range of values that feels appropriate to the lighting situation and given context. The value study will be a kind of map that we can use to mass in larger planes of value in an organized way onto the crystalized block in. Identifying what is our lightest light, light, dark light, halftone, shadow, and environment value can help us maintain a clear value structure and maintain a natural impression of our subject.

Day 4 we will think more sculpturally about the surface we are trying to recreate. In a general way we will think about the form's orientation to the light source. An example would be thinking of the upper torso as a kind of barrel with a specific tilt in relation to the light source - using the value study to choose the appropriate aggregate tone for the area of the torso, we can then begin to model and arrive at the sense of form. Taking this concept further we would think about the anatomical subforms existing on this barrel like form and develop ways to appropriately integrate these smaller forms onto the major form. Essentially we are sculpting with values from large areas of value to smaller more organic facets.

Day 5 will be a day to mainly work on our final pass of resolution while respecting the big impact of the Impression/light effect. We will push the sense of the form and tactile nuance of the surface. As we push towards more specificity and breaking the drawing out of the picture plane it is important to also maintain the large impression and unity of the drawing to avoid disconnected parts. In other words, finishing the drawing while holding onto the impact of your first initial to the subject.

ARTIST BIO

Thomas LaPine uses drawing and painting to actively participate and engage with the world. As a student of academic principles, he strives to expand these traditions in a way that celebrates both historical and modern viewpoints. Focusing on direct representation and specializing in the human figure, Thomas seeks a balance between the visual impression reflected in 19th-century academic drawings and the tactile experience inspired by the Dutch masters. Through extensive study and travel around the world, he has acquired an astute perspective on the fine arts and its relevance to contemporary culture. Thomas currently lives in Connecticut, where he studies and works at the Lyme Academy of Fine Arts.

MATERIALS LIST

• Range of pencils from 6B-6H. Brand recommendations: Staedtler, Faber-Castell, Mono, Tombow
• 18x24 (inch) white drawing grade paper- size does not need to be exact but something near this size would be good. Please no newsprint. Recommended brand: Strathmore 400, medium tooth. Or Canson Edition paper.
• drawing board that fits your paper size.
• kneaded eraser
• Plumbline
• small pocket mirror
• skewer or knitting needle (for measuring)
• sandpaper for sharpening pencils 
• blade for sharpening pencils
• clamps
• tape
• Tombow MONO zero pencil eraser 

Other optional recommendations:

• Blackwing matte pencil
• Cretacolor Nero black (medium) 
• bristle brush, round various sizes 
• paper stumps

ACCOMMODATION

You will be staying at Baglio Custera, a boutique hotel in the heart of Marsala’s countryside. Known for its gardens and luxurious swimming pool, this modern resort stands on the Rakalia hill, the site of an ancient shrine to Hercules, surrounded by olive and orange groves. Baglio Custera is a brand new hotel built on ancient lines, those of the "baglio," or farmhouse.

​

From start to finish you will enjoy the extraordinary cuisine of the region influenced by the unique flavors of the Mediterranean including garden-fresh vegetables, ancient grains, and seafood. All meals, accommodation, and daily ground transport are Included in your package, including a celebratory welcome dinner with Mario.