Title: Final Form of the First Term ---- This practice piece is a study of a young female model, focusing on expressing youth and femininity through line alone. I exaggerated the waist by carving into the form and emphasized the soft, rounded volume of the hips. Since adding shadows and hair were not permitted, depth and three-dimensionality were conveyed solely through variations in line weight and directional flow. By imagining the underlying skeletal and muscular structure, I aimed to express the body’s tilt and orientation through the tension and momentum of the lines. Through this assignment, I discovered that lines themselves can function as shadows, reinforcing form without tonal rendering.
Title: The First Step ---- This early practice piece was created to study the human body as simplified three-dimensional forms rather than anatomical structures. By reducing the figure to box-like volumes, I focused on spatial relationships and overall construction. I struggled with allocating space for the legs within the composition, resulting in shortened shins. However, this exercise significantly improved my ability to understand volume and continuity between forms in subsequent assignments.
Title: Ordinary Mistake ---- This drawing comes from an assignment using only pencil to explore various geometric forms. Unable to rely on charcoal, which I usually use to organize space and tone, I corrected lines repeatedly, leaving the surface dense and unstable. Errors in circles and cylinders exposed weaknesses in both perspective and control. I refer to this piece as an “ordinary mistake” not because it is insignificant, but because it represents a fundamental misstep that is common and necessary. By confronting a task I tend to avoid, this drawing clarified where my understanding breaks down and where focused practice is most needed.
Title: Service Area ---- This study challenged my assumptions about muscular bodies. Rather than treating the figure as uniformly strong, I paid attention to the model’s specific balance, for instance a full chest paired with comparatively slender legs. What initially appeared complex gradually revealed itself as a structure made from simple forms layered together. Where the body’s volume shifts, I paused to establish form before continuing. At the time of this drawing, my understanding of leg structure was still limited, and that gap remains visible here. Acknowledging that weakness has since become a clear point of focus in my practice.