By Crowell B.

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49 F IGURES 10 AND 11 The two drawings focus on the dinosaur’s pelvis and ribcage, describing each area’s attachment to the spine, and also carefully consider the joints of the limbs. Figure 10 employs more decisive and singular lines to bring the pelvis into focus, while figure 11 uses the density of multiple lines and erasures (extracting the white of the ribs) to dramatize the view through the ribcage. The former incorporates the armature supporting the skeleton’s structure as well as the hardware and wires that sustain the creature’s posture, while the latter dismisses the hardware.

F IGURE 3 The stop-motion account of an individual monkey’s activity loops its progress from seated to walking to seated once again. Rapid underdrawing of major masses is evident as the student envisions the skeleton and the body’s major masses beneath the fur. The darker marking builds the form and further animates the gesture of each posture. 44 F IGURE 4 The animation of the drawing attests both to its author’s fluid hand and to the compelling drama of the skeleton’s posture. Observe the assertive range of calligraphic writing that descends in a spiral from the skull, through the ribcage, pelvis, knee, and eventually to the paw.

It should be stressed that drawing everything all together is of critical importance. Note: Any of the above studio assignments may be combined with one another— Collaboration with High Vantage Point or these two with Double Figure—or all three together. Long studies of 2 to 2½ hour duration follow. Any mutable drawing medium may be used: vine charcoal, soft charcoal pencil, pastel, conté crayon. Attempt oil bar if the initial marks are light; follow with bolder assertive marks as the drawing progresses.

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