People move, that’s the pose I draw
The cliche of an artist is the way they position their subject: a front-on image as if it is a portrait becomes tedious to me, I need to see the activity, no matter how passive it may be, but a nuance of irregularity that the subject holds with every move they make: a slight favouritism of the left leg, a hunch to the right, a twist of the shoulder, they all make the body far more interesting to draw.
To simplify the image, just blur your eyes and you will see more
On viewing a subject for the first time, there are many thoughts that come to mind: which part of what I’m seeing is the piece that will capture the essence of the image? Is it the shadow? Is it the face alone? is it the bulk of the body – the angle of the limbs – the proportions of limb to torso – or is it a bit of all?
Blurring my eyes gives me a very quick idea of what I like about the pose, you see less, but it makes me see more!
Whimsicality leads to spontaneity and the fun of the line becomes a pleasure to indulge oneself in
“The gentleness of my good friend Viktoras is what has made him
a truly gentle man and a real gentleman.”
Don’t confuse speed with sloppiness, sloppiness is simply laziness: to be quick and still capture the essence is a product of many years of rehearsal