Did We Go Slow?

I follow the contour of the hand and describe the shape with a continuous line – almost without taking my eyes off the title or raising my pen on paper.

It is not exactly a blind container diagram, but it is close – It helps to focus my attention on seeing the objects in front of my eyes the way they look – such as shapes, lengths, angles, and values, instead of designing body parts and ideas about what a particular piece should look like.

It is a well-known theory that by not naming things “like fingerprints” but rather “like an egg, not slightly right at right and flat on the ground,” we free our minds from acquired, targeted features. Only then can we develop the true meaning of each person, the unique thing that lies ahead of us, and improve our style, authentic style, and artistic voice.

I find it essential to think of the palm as part of the whole arm, both in construction and motion.

It helps to visualize the bones and muscles inside and pay special attention to the shape of the wrist. This is where getting used to hand anatomy comes in handy; yes, it helps. And while I do not remember the names of each small bone as I draw, I think of the carpal and metacarpal bones hidden beneath the skin and muscles and how the ulna and radius of the arm are attached to the wrist.

Every line and shape I set at this point has the function of creating the right-hand structure. I try to think about perspective and how the form turns into space – to look at and understand what situations are in front of or behind another.

Next comes light and shadow. I blink my eyes to see the difference better, highlighting the shadows and areas. Prices grow by adding extra lines, cutting through the thick darkness.

The notice reflects light on the back, inside the tent, making the form look round. Extremely dark accents such as fingerprint design and exciting details were added to complete the drawing.

The whole exercise took about three minutes.

In that type of drawing, I draw quickly and produce many drawings. I remember reading that Egon Schiele’s paintings that we love so much now are few survivors of many attempts. He will have a large piece of paper and start his line drawing in front of the model. If he did not like what the painting looked like, even after the first line, he would throw away the paper and start over.

In this case, he may have succeeded in setting a pleasing contour of the hand, but he did not like to start on the torso. That paper goes to the trash and starts again. Repeatedly. It’s good to know that our favourite artists didn’t create our favourite works of art in one beautiful place each time. It should help us not to be afraid of failure.

Free painting allows me to feel overwhelmed with the result and enjoy the painting process instead.

The idea of a “finished painting” is just that – an idea. If I don’t feel too precious about the result, I allow myself to stand out anytime I really like painting, regardless of the level of completion.

Some of the paintings you see here are just concrete drawings. Suppose it sounds like I did what I wanted on the contour itself; if the image “clicks” and talks to me, that’s it. That’s a finished drawing.

If it sounds like developing certain features or ideas, I will explain the form further, build lights and shadows and add details. And some do not work at all – the drawings that end up being discarded

. Even those bonded drawings are essential. Failed results do not mean that the process has failed or that the evaluation period is over.

Seeing and learning from our “bad paintings” may be an essential part of the whole process! The freedom to explore different options and not focus on being “right” allows our sensitivity to explore different ideas and ways of representing what is in front of us and ultimately find our artistic voice.

If you draw often and you do not feel precious about the result, you can allow yourself to stop whenever you like painting the best, regardless of the degree of completion.

~ DHRUV GUPTA

Creating a quick touch with ink helps me focus on the process rather than the finished result. The touch technique of painting is very much related to emotions and allows me to draw naturally. Drawing in this unusual way gives me a space to research the topic out of curiosity and without expecting what the finished painting should look like.

Responding with a simple line to the momentum that first interested me in the topic is one of the most exciting things to draw for myself. Satisfying first curiosity with an open mind, relaxedly – by just drawing clearly without following specific rules already read – is often referred to as “relaxation.”

Drawing or sketching is a way of knowing your subject, researching, and just being there by looking at its features and responding to it with a mark on a piece of paper, a line. Both lines create a boundary between areas and connect them. The Contour line clarifies and informs our brain where the object ends.

By adding a line to my paper, I feel I explain both the differences between me and the subject of the painting, and I connect with it.

By drawing quickly and relying on my instincts to put the lines in a touch-up, I hope to capture the most critical information, the essence of my topic. I set aside time for short drawing sessions (from 1-minute line drawer to 10-minute lessons), minimizing the choice of what matters most – registering first, then communicating, and in what ways.

There are only so many marks and details one can put on paper in such a short time.

Choice of ink adds limits. The permanent ink element makes me consider each decision carefully, knowing that I will not be able to remove it.

Interestingly, I made fewer mistakes when painting with ink than when I used an easily adjustable tool such as a pencil or coil.

Drawing naturally allows my hand and mind to get lost in the mysterious world of shapes and angles instead of thinking cleverly about my invention. And the flexible, clear line conveys more information, like movement emotions. It can also create intense interest and bring the viewer’s attention to a particular part of the painting.

Another way to keep the line exciting and alive is to try different ways of holding the pen and starting your movements from your elbow or shoulder. That way, energy comes out of your body, and the paint marks appear liquid and alive. Changing pen pressure and positioning and marking method adds a unique flaw to the final image.

I like the small requirements for drawing an ink pen – all I need is paper and an ink pen. There is always something around it that can be drawn.

I like to use Muji-type gel pens and Micron and Rotring ink pens of various sizes. I have a small 6 x 8-inch drawing book (Muji) that I like to carry with me, but I use a large 9 x 12-inch format of Canson and Strathmore drawing pads to paint in my studio. A standard printed copy paper is a beautiful and inexpensive piece of paper that I can check out and not bother to throw away later.

Find out what works for you – what size is light enough to carry, and which drawing tool does not need to be set extra? In my experience, if it is difficult to use or needs to be repaired or cleaned afterwards, there is a good chance I will stop messing with you.

Try different things; find a pen or pencil of your choice. Change your preferences regularly, too – you might be surprised at how different your work is depending on the drawing materials you use. A challenging tool or size may eventually develop into a whole new art concept or direction.

Draw a drag! I feel that my paintings are much better when I am interested in my subject and feel happy to draw them. Naturally, my interests change based on each case. It’s usually something that draws me because it’s in front of my eyes, like animal paintings.

I drew chickens and horses on a nearby farm during a family vacation. Chickens were fun to watch, with head movements such as robots, hops and random runs, the difference between flying feathers and sharp nails and beaks.

Doves always look funny to me. I am not a big fan of birds seen nearby, with their beaded eyes and tiny, scaly feet. Don’t they look like miniature dinosaurs? But pigeons (from far away) are funny and full of personality, and I often draw them in parks.

My two cats sitting lazily on a hot and humid summer day gave an excellent painting theme – they did not change their shape immediately and were happy to keep me working on our front porch.

You can see short drawing videos of me drawing my cats (including model Mia) on my Instagram and Facebook pages.

Drawing People:

For no reason, people are the favourite and most popular topic for many artists. Naturally, we feel drawn to our human nature both as artists and spectators, including myself.

Family members, friends, random coffee shoppers – no one is safe here. And let’s not forget the gift of professional models – giving us artists endless hours of standing, holding still faces and tight muscles. The nudity, in particular, is an appropriate lesson for practising drawing and further developing the understanding of the human body.

Standing tall is one of my personal preferences, trying to capture someone else’s personality, feelings and personal issues.

And not just the face. The hands are full of emotion and reveal much knowledge about body touch and movement.

In all parts of the body, the hands are often considered very hard to draw. Indeed, their intricate design and seemingly infinite positions and touches can sometimes feel frustrating. The only way to master hand drawing is to understand it, and the only way to understand it is to learn both anatomy and hand tools and practise drawing and painting.

Many resources are available in print and online for you to read, including books written by Bridgeman and Loomis, Proko, and the Line of Action websites. Copying well-crafted hands (drawings and sketches of great artists) and drawing pictures is a well-tested and beautiful way to learn.

I prefer drawing from life, and if I do not have a model available, I use my hand (left) to quickly read or take my pictures and later use them as drawing tools.

Procedure: Hand Study on Ink

There are different methods and schools for handicrafts. Getting started is very important. My choice of how I will start a particular drawing is somewhat rash and related to what I find to be very important or different for this team.

Sometimes I will start by pointing to a “line of action” and then put down a line or lines that indicate a general action or direction. Drawing a basic shape or shape beginning with a petite frame helps plan a complex design.

Mathematically, it is helpful to mark the base of the skeletal system first – the skull, spine, shoulder, and hip axis. I can start by marking a significant dark for objects with a solid bright light.

In this particular area of the hand, I like the soft line that falls on the wrist and how the hand hangs in the air so that I will start with that outer edge from the top to the bottom of the finger.

When I make that line, I focus my eyes on the story instead of my paper. I follow the movement of my eyes and the movement of my pen. Paul Klee says, “Drawing is just a moving line.”

In modern times, all arts and styles flourish in India. In them, the rapidly growing art is the flourishing “Chitra Kala”, which some people also call painting.

Today I will tell you about this mode of how to make “Chitra Kala Lover” without training; one can start with other resources.

By the way, many young people bring degrees in the field. So start with rich natural, uneducated, or straightforward talent. If you are not a graduate or master in a famous art college and still love to draw and want to do, go with us; we will give you this Basic Something of the kind that tells things. Make perfect preparations before you start drawing.

So Let’s Start Preparing …

First, take the easel [paint stand]. Immovable. Where you can place the canvas properly. Take a concert with a reputable company. This will make it easier to make a drawing. The canvas is made of high-quality cotton yarn. Fine canvas threads do not explode. When the rope passes through each other, the intersection is built, there is a small hole.

This is where the color rests. This makes the painting blossom. Canvas is usually found from 500 meters to 2000 rupees. The age of a beautiful canvas is over 100 years. It does not even finish the crust.

Well-known cannabis companies are BPO, Monalisa, Vincer Newton, Camel, Laffant, Rebs, etc. You can choose a canvas according to your budget. Canvas painting is done because you can bend and can quickly move anywhere. It is easy to make a drawing on a canvas because there is no bump on the fabric thread.

Colour means color selection.

Use colors carefully. Its colors are costly. The central color tube of 100 mm is 3500 rupees. Best “artist color”. It also has series 1, 2, 3, 4. The colors of the learners also come for the children to learn, including pencil colors and charcoal. Take the color of a reputable company like BPO, Vincer Newton, Pelican, Rebs, etc.

Choosing a Brush

After this, select the brush. If the [wrong] texture is going to be done, you should use a pig brush [large hair brush], and if you want to lightly brush or polish, use the skin [soft brush].

To wash these two types of brushes, buy turpentine and store it. Keep a good towel to wipe the brush. Make good posture to keep colors, brushes, and other related items in place to keep them in the right place. Also, keep geometric objects together.

Start Drawing Now

Find a good canvas. Could you open it and sew it neatly? Then, according to your title, kill the color coat on the canvas.

Now you think you should paint on it or paint. You can also choose a color, whether you want oil or acrylic. Watercolour dried up with a significant delay. Acrylic after that. Watercolor can be washed or cleaned, but the oil color does not leave. Many artists use oil.

The painting is beautiful and vivid. It can also be cleaned [dust-soil]. There should be no noise while painting. It should be a quiet place. So that while you are drawing, the mind stays focused and the subject is not affected.

If you like music, listen to beautiful music while painting. The frame also has a special significance to the beauty of the painting. To do this, select a frame according to your drawing. This affects the beauty of the painting.

There should be good hooks behind the drawing. So that it can be hung and lowered easily. So here are the basics about making some drawings. Other than that, if you want to know more about the world of paintings, know more. Today, much work is done in India with two types of courses.

One is Fine Art [Fine Art], and the other is Modern Art [Modern Art]. Apart from this, painting is also done in abstract [virtual art]. Today the painting market in India has estimated at Rs 1000 crore per year. Among the famous Indian artists are Tayeb Mehta, Ram Kumar, Akbar Padamsee, Late.

Maqbool Fida Hussain, N. N. Souza, S. H. Raja, K. H. Ara, Gemini Roy. The young artists of Prithvi Soni and Mumbai are many talented artists like Ram Ji Sharma, Ghanshyam Gupta, Narendra Borlepawar, etc. The value of each painting of these artists ranges from lakhs to crores.