I have been told that in some of my drawings people can see an influence of Hirschfeld. I do not in any way think to compare myself to such a master, but I would lie if I said I haven't studied his work in great detail. I know it is cliche to mention Hirschfeld when it comes to caricature (considering there are SO many wonderful caricature artists) but it is pretty hard stuff to resist. Hirschfeld made such a significant impact on American Illustration in the realm of caricature that his drawings should be studied for more than the superfluous novelty of them. I am talking specifically about all the NINAs-clever, but insignificant.
No one understood the importance and the strength of what a single line could project. In some of his drawings his line work is so specific that if one line were to be removed it would no longer be the person he intended to capture. When my work gets too fussy I tend to give myself a refresher course and study his work all over again. Not to copy of course, but to truly comprehend the concept of simplicity and directness.
2 comments:
i'm sorry i never posted on this one. i like the girl. there's something about the way she's holding her head that i think is true to the experience of drawing at an easel. but, as i always do i like to nudge. i want more energy in the whole drawing. you may disagree but, i see careful and cautious. not criticism-nudging. these have care and caution in a successful way too. i guess i want to see the connection between the hand and face in this drawingmove through her arm in a more fluid and animated way. where is it? in the shoulder, her back, in her neck perhaps? sometimes it's not the arm that connects the hand and shoulder. i know, i know "wax on wax off."
I see what you are talking about here. I did one recently that expresses the idea you are looking for much better. I will post it soon.
When reviewing this drawing I think it falters because I got so caught up in the overall pose and then in the hair. I did not follow through as much as I should have to make it a better, more fluid drawing. I remember you did a drawing of Sam (from the apprentice group at Disney) drawing in a life class and I never forgot it. That sticks in my mind as the kind of energy to strive for. I don't really know at what point I tend to let go when I am drawing.
What is it you look for whan you scope out potential subjects? I always think of Robert Henri when i work, and his thoughts of artist as hunter and I try to find that spark that inspires me to put pen to paper.
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