The Life Drawing Class has been the most productive course I have taken at CSM. Through a semester of consistent practice, my sketching skills have improved significantly, and even my personal style has started to emerge.
In the early stages, I focused primarily on the proportions of the human figure, but my lines lacked confidence and decisiveness. The figures I drew were structured and accurate but only reflected my understanding of anatomy, with weak sense of movement and inconsistent line flow.
After drawing hundreds of sketches, I no longer feel as restricted as I did in the beginning. I have built confidence in my fundamental drawing skills, knowing that even if I make a mistake, I can correct it easily. I have developed a habit of positioning the head, hands, and neck-shoulder area first, then using a single, fluid line to connect the hands and shoulders, creating bold and smooth strokes. Similarly, when drawing the thighs, I position the ankles first and then draw a straight line downward, which helps capture the volume and form of the thigh muscles.
Life drawing sessions are typically divided into different time-based exercises: 30-second sketches, 1-minute sketches, 2-minute sketches, and 3-minute sketches. Over time, I have learned to prioritize different aspects of sketching based on the time limit, improving my time management skills.
- In 30-second sketches, I do not focus on the beauty of the lines. There is no time for deep thinking, so I simply capture what I see as quickly as possible, like copying from sight.
- In 1-minute sketches, I can replicate the quality of my 30-second drawings but with more ease and control.
- At the 2-minute mark, I have more time to refine my linework, and even to consider the overall rhythm of the sketch.
After drawing hundreds of sketches, I have solidified my aesthetic preferences in sketching.
I particularly admire the sketching styles of M-Y Ant, Alone Lee, and Mi Li.
Their lines are dynamic and have a strong graphic design sensibility. I was especially inspired by Ant, who incorporated elements of Kandinsky’s paintings into her illustrations.
This led me to consciously experiment with negative space in my sketches—deciding where to omit details and where to add them. Black-and-white line drawings require a sense of rhythm and balance, which I have tried to implement in my sketches.
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