Character sketching exercises

This painting was created in 2017. This year I spent more time thinking about art in sketching courses, which also caused a disconnect between my color painting and sketching. I am more bold in looking for the core of Chinese culture in sketches, even though I still know very little about traditional Chinese culture. However, I am more conservative when it comes to color painting.

Overall Size: /
Size without the frame: /
Country: China
Date: 2017
Materials: /
Condition: well preserved

Creative themes and style | My works revolve around the creative concept of "The land of humanity, People on the land". The people in the painting are people in nature, and the lines, shapes, and colors are close to nature. The nature in the painting is nature in the eyes of humans, existing in interaction with humans.I don’t pursue a series of works with a fixed and continuous style. I hope that the style of the pictures will synchronize with the changes in my life and always remain oscillating. The performance of the work must be in sync with the development of one's own life in order to be Sincere and powerful. Ideas are later.

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Reference view

post modern art Character sketching exercises

Artwork Interpretation

In terms of composition, the juxtaposition of the figure and the skull breaks the conventional balance, creating a dynamic sense of conflict and integration. It resembles Chaim Soutine’s exploration of unconventional compositions, using distorted and compact layouts to convey inner emotions.

Relying solely on the black - white - gray tones of sketching for color, it precisely shapes and expresses meanings through shades and layers. The heaviness of the dark areas and the thinness of the light areas are just like Rembrandt’s chiaroscuro, exploring depth and volume with a single color system, fully revealing the cold hardness of the skull and the complex texture of the figure.

In terms of brushwork, rough lines crisscross, sometimes urgent, sometimes slow, sometimes heavy, sometimes light, directly externalizing emotions. Similar to the forceful brushstrokes in Vincent van Gogh’s sketches, it weaves the subtle spiritual connection between the figure and the skull with “calligraphic” lines, giving the picture breath and tremor.

The content and theme focus on the dialogue between life and death. The figure holding the skull is a gaze at the essence of life. It evokes Edvard Munch’s obsession with the proposition of life and death. However, here, there is less horror and more contemplation and acceptance — the living individual sitting with the symbol of death is an inquiry into existence and a tribute to disappearance.

The emotional expression is hidden in the folds of the lines. The relaxed posture of the figure and the serenity of the skull interweave a melancholic yet relieved complex emotion, seemingly telling the cycle of life and the reconciliation with death. With a simple sketch language, it reaches the depth of philosophical speculation, allowing viewers to touch the trembling aftertaste of the soul in the interweaving of black and white.

FAQs

Q1: Why are the figure and the skeleton depicted together in the same drawing?

This is a typical method of combining teaching and creation. The skeleton serves as a tool for studying structure, while the live model trains observational skills. Placed side by side, they not only emphasize the importance of anatomical foundations but also create a symbolic dialogue between life and death.

Q2: Why do the lines in the sketch appear loose, even chaotic?

The looseness is intentional, reflecting a sketch-like immediacy. Quick, unpolished strokes capture both the figure’s pose and the skeleton’s form, preserving traces of thought and gesture. This gives the drawing the feel of an authentic creative process, rather than a polished illustration.

Q3: What research value does this work hold in the field of “figure sketch art collection”?

Beyond technical training, this type of study reveals the artist’s way of seeing and thinking. For scholars and collectors of sketch-based art education, it serves as a direct example of structural study and rapid observation. It is particularly suited for teaching displays and studio exhibitions.

Q4: How do the expressions of the figure contrast with the stance of the skeleton?

The figure reclines casually, with an almost indifferent gaze, while the skeleton maintains a rigid, emphatic posture. Their contrast produces a sense of dark humor, as if the living and the dead coexist in the same fleeting moment.

Q5: Why is the background rendered so vaguely?

The blurred background draws focus to the interaction between the figure and the skeleton, while reinforcing a theatrical stage effect. Viewers experience the scene less as a literal environment and more as a performance frozen in time.