I’ll keep this short since my last post was a novel. This class has definitely opened my eyes and made me realize that I’m more art savvy than I thought. This class has been amazingly supportive and informative, I can pin point specific skills that I will take away from this class AND I can tell you how I learned them, which is usually not the case. Usually I feel like I just absorbed information through osmosis, but here I practiced and grew. Each critique was informative and didn’t leave me feeling like I was being judged, but felt like I was going to be able to make things better and keep working on my pieces instead of being given a final grade on a final draft. All in all this class was amazing and I can’t wait to take more art in the future!
To be honest, this project was intimidating and frustrating before we even put charcoal dust to paper. Our first step was to blacken the paper. Sounds counter-intuitive, right? And it wasn’t just that we had to blacken the paper, we had to scrub the charcoal onto a palate piece of paper first, then use toilet paper to rub the charcoal onto the paper, so that it would erase cleanly (applying it directly would cause it to never be fully erasable). That, in itself, took about an hour and absolutely covered me in charcoal. The thing about scrubbing that piece of charcoal onto paper and rubbing it onto another is that the dust settles EVERYWHERE, even onto my arms- the arms that I was using to scratch my face to AVOID getting charcoal on my face. I ended up looking like a chimney sweep.
The first day in class, after setting up work stations, taping up mirrors, coordinating power for the lamps, and getting comfortable, we started erasing, beginning with the shiny spot on the end of each of our noses. Then, from there, we tried to build the form of our noses out from the middle of the page. It was really difficult not to try to idealize the nose to get it done and move on. It was also tough to go from seeing my face in color in the mirror and then trying to replicate it on paper in greyscale. This was what I ended up with two hours later:
Definitely looks like a nose/beginnings of a mouth. I was surprised that it had come out that well in the first place. The whites are a little too bright here, and there isn’t much in the way of form, but it was a start and I was pleased with that much at that point. I wanted to go for my eyes next, but I was really afraid of them, so I then worked down instead of up and out. I found it easier to work with the space between my nose and mouth because there was less variation in shades of grey. Baby steps!
The next class I worked on my nose more and branching out from it, trying to make it seem more believable as my nose. Here my whites are still much too white, and I’m trying way too hard to get an outline for my mouth in black. You can see more here where I tried to think about doing my eyes, got scared because they were going to be complicated, and then worked elsewhere! I also have a sort of outline for my nose at this point, which comes from my usual style of drawing cartoon faces. The nostrils look good here though, and they’re fairly final at this point- I won’t do much more to them aside from shading changes.
I got a lot more done between the last picture and this one! I’m starting to smooth out the nose into a more believable form, my lips (although comically large here. They didn’t seem too big at the time until Prof. Ruby pointed it out) have taken shape and I braved one of my eyes! Success! At this point, I’m starting to get attached to the drawing and really enjoy it. I finally figured out here that my lips were highlighted at the edges rather than outlined in black. Figuring out how to give something an outline in black, though, was a sweet epiphany that I was really excited about. But then again, so was figuring out the highlight around my lips! My nose is starting to get set in its form here. It’s less cartoon-y and more like I’m trying to replicate real life. The eye has a shape. Not the right shape, but a shape. It was a good first attempt and it was excellent for getting comfortable with the idea of working on my eyes.
Here I have tried to move down instead of up, realizing what kind of work was cut out for me with the eye. My lips have a decent proportion now! And Im beginning to put in my chin. In this picture I overestimated the width of my face, so I have erased all the way to the edge of the paper, but that was more of an experiment in skin tone than anything else. Here I am also playing with highlights in my lips, shading around my nose, and the unique dip where my chin meets my lower lip. Here it’s very pronounced and honestly too big, but at the time it helped me see what I was working with. I’m honestly glad for all of the mistakes in these pictures because they really helped me see how to produce this drawing and gave me techniques to make it better!
Here I have left my lips for a moment and returned to my eye. My nose has better form here (I played with it in every class as well as in each session I did outside of class). The eye shape is MUCH better here, more believable for my face. I spent a good bit of time this class just working on proper placement, shape, and contour of the eye, taking breaks to pay attention to lips and skin to give my mind a rest. I continued to experiment with skin tone here, which I think is what helped me begin to perfect my nose. Here it’s still fairly flat, but the more I look and experiment, the more I see and am able to replicate and make it less so.
At the end of the next class, I have one eye that I am REALLY happy with, and the bottom of my face (finally figured out that I wasn’t going to take up the whole page with my chin- success!). At this point I finally start to see myself in the picture now that I have an eye and an eyebrow (though, again, A shape, but not the RIGHT shape) and my nose is getting better form to it. The crease in my chin is still too big, but I won’t realize that for a while because I’m sort of idealizing it here. When I noticed it, it seemed much bigger than it actually is. But, that is a good mistake. They’re all good mistakes. I’ve left my lips alone for a while now so that I can focus on getting all of my features in. At this point I’m anxious about the right side of my face because I’m afraid it won’t come out as well as the left, and I was really overly pleased with the left eye, to be honest, but it was the best eye I’d ever drawn!
Ah, the dreaded and very scary right eye! I was worried about this for two reasons. One, it’s trying to make this one as good as the other, and two, my eyes don’t line up like most people’s eyes because I have Duane’s Syndrome, which means I am missing a nerve in my right eye that prevents it from having a full range of motion. So, when I’m seeing straight on, I have to turn my head slightly, and therefore my eyes don’t line up. It’s very subtle, but it’s there, and I was worried that it would be SUPER pronounced in the drawing. This was probably my third or fourth attempt at this eye- I kept having to erase and start again to get the sizing, contour, and positioning right. It looked WAY less creepy once I had some semblance of an eye on the right side, and I relaxed some once it started to take the correct shape.
This was the product of three hours spent in the art building late one night. I was SO PROUD of these eyes because they looked just so nice and perfect and smooth and I was just so excited. And my nose has much better contour here, I have ALL of my facial features, and my face has an edge, granted it’s too wide, but at this point I was pleased as punch. The lips have assimilated into the drawing now, which was the result of tweaking in every drawing session. The chin is still wrong, but I don’t really focus there until the end. Of course, Prof. Ruby came and told me these wonderful eyes that I had carved from the charcoal weren’t believable in the next class, but I reveled in the fact that they looked nice and it looked like my face!
AH! The result of really focusing on Prof. Ruby’s critiques! The eyes are starting to look more real now and my left eye brow is the correct shape, which makes this an even more believable representation of my face. I thinned out my face a little and it looks good here, though I’ll change it a million more times before I set the drawing up for the final critique. My nose looks much better here, it looks like it is three dimensional, as do my eyes since I added the shading. I’m starting to focus again on perfecting my lips too, I’m beginning to play with the natural wrinkles in my lips that I watched everyone else produce REALLY well on their drawings. Eventually, I will realize that I personally do not have many defined wrinkles in my lips, but it was something I wanted to try.
I have now put in the correct shape for my right eyebrow and fussed with and perfected all of the little creases, highlights, and shadows around my eyes and it was seriously complicated, but I fell in love with the drawing more and more as it came out to be a real depiction of my face. I added my neck, having measured the angles with my string (Did I mention we’re using that technique again? It’s been REALLY helpful, if a little difficult to see, especially when trying to measure eyes). I’m pleased that I was able to add my neck because it shows my slight head turn and makes my eyes seem more believable in their positions. It is at this point that we were able to directly apply charcoal for the first time. I added it to the place where my lips meet, to my nostrils, and to the edges of my irises to make those places have more depth and show the full range from black to white in the drawing. I LOVE how the direct charcoal really accentuated my lips and how it showed me an opportunity to make my nostrils more accurate.
After our informal in-class critique, I went and started trying to bring out light and shadow in my skin to make it less flat looking and more three dimensional. This is where I got a chance to really love on the drawing. At this point I am very attached to the piece and am now focused on the minutiae. I worked mainly on highlight and shadow, trying to make sure the transitions were smooth. I would erase some to make it lighter, then smudge it with the surrounding darkness to make it smoother, and repeat. That is something that I went back and worked on for my final adjustments before hanging it up for critique.
And here is what I hung up for final critiques.
I played a lot with the shadow in my eyes, the creases in my lips (there are a few in there!) and the lights and darks of my face. I have two little dimples under my lower lip that I made sure to add in and I perfected my nostrils flowing into the space between my mouth and nose and I’m honestly really happy with how that turned out. I was afraid to do it, but once I had the contrast of the directly applied charcoal, it was easy to do! I also waited for darkness outside so that I could get the maximum contrast from my lamp to finish the shading of my face. I plan to frame this piece when I take it home- I’m that proud of it! It was a really frustrating process, but I certainly learned a lot and I am so glad to have done this. Charcoal, I have decided, is my favorite medium to work with.
The pictures don’t do the piece justice, I am afraid. It looks much better- smoother- in person, but I will say that the act of looking at the piece through a camera lens helped me see what needed fixing, tweaking, where the erasure marks were streaky, where the shadow had solid lines between light and dark, and where I had left stray marks. The pictures, while great for documenting progress, were a tool in themselves to give me an instant second look at my drawing so that I could see what I was missing with my unaided eyes.
1. The social ill that my animal seeks to address is social anxiety.
2. Its super power is that it takes those affected back in time to the point at which they began experiencing social anxiety and helps them cope with it properly.
3. I used materials that represent unhealthy ways that people cope with anxiety such as pills (self explanatory), alcohol (beer bottle), “hiding” (represented by the softness of the wings, like blankets), and over (or under) eating (forks on the wings).
4. The animal is a pegasus because horses are regarded as therapeutic animals, but it has wings to fly through time. It is fueled by the unhealthy coping methods that people usually use (hence why it is made out of them) and gives people the confidence and ability to cope without the crutches of their unhealthy habits.
The picture above is the finished product of Gifty’s Antonym project. Her antonyms were “weak” (left) and strong “right”. The first thing I’d like to draw attention to is how well her abstract pictures represent these words. Her “weak” picture shows some curved lines, reminiscent of limp noodles, but the placement of the lines reminds me of an untied bow. These shapes and placement, along with them being just under the center of the frame really seems to evoke a sense of brokenness and the shapes seem somehow soft and fragile, like they are “weak”.
The second abstract picture I find most compelling because of the way that the outer black shapes elude to a border around the inner shape. The shape itself reminds me of the “POW” or “BANG” bubbles in an action comic, which reminds me of strength. The way that the whole shape is placed slightly up and to the right of center makes it seems “strong” too in the way that when we see something “rising above” as this picture seems to be doing, we are reminded of personal strength.
As for the actual pictures, I love the way the connect both with each other and with the abstract pictures. The “weak” photo is of what appears to be actual spaghetti, broken and placed into a shape similar to that of the abstract shape. In this way it draws the parallel between the two and evokes the same thoughts. On the right side, the “strong” picture is one of both literal and figurative strength. This can be interpreted in a multitude of ways, including but not limited to the strength of fists, the strength of friendship (as in the fist-bump), the strength in numbers, and even the strength in the fighting the undercurrent of racism that seems to still invade our “post racial” society. My favorite parallel, though, the the one between the photo and its abstract. I love the way the abstract seems to be the “POW” or “BANG” on top of the fists touching in what could be a fist-bump of friendship. It’s an excellent display of strength and is a great juxtaposition to the “weak” side of her board.
The last thing I would like to draw attention to is the fact that Gifty worked in all black and white for her abstracts and her photos. I believe this worked very well for her because on the “weak” side, her noodles seem to fade into the background, making them seem more weak while had they been in color that may have been too “strong” depending on the background. In her strong pictures, I think the black and white adds to the quiet strength that she has achieved in the piece. With color, it may have draw too much attention and taken away from “strength” and said something more along the lines of “power” or “intensity”, but in black and white she was able to achieve her goal.
These are a few of the many reasons that I love her project and chose to use it in my analysis!
To start this project, I was entirely skeptical. And confused. You want me to do WHAT with pictures? It took a little bit of contemplating before I began to understand what was being asked of the class in the project. Most of my confusion was alleviated by the time we discovered the words with which we were going to intimate for the duration of the project. My words were “intense” and “mild”, which seemed simple enough. My first concern was that everyone was going to have very similar pictures, because I felt like each pair of antonyms was so closely related, with the exception of a few. I came to find out later that what looked “intense” did not look “enthusiastic” or “flamboyant” and what looked “mild” didn’t necessarily look “controlled” or “restrained” and even the latter two were not the same. This illustrates the first lesson that this project taught me: that art can articulate exact words or ideas just as accurately or more accurately- than any words, themselves, can.
The first step was brainstorming in which we had to create a mind map of all of the words associated with our two main antonyms. This was supposed to help us get our brains thinking in terms of these words and then, hopefully, make the transition into shapes easier and more fruitful. My mind map was small, but that was mostly because when I was done I was ready to get started with the next step- drawing out thumbnails!
The second step was where we had to come up with at least 50 thumbnail ideas for an abstract black and white picture that would portray our word to the best of our ability. We not only had to play with shape, but also size and location in the boxes. Being such an accomplished procrastinator and needing to be right up against a deadline to finish anything, I waited until the day before we needed to choose our final pairs to being my thumbnails. After drawing out 50 thumbnails for each word, I paired them down to three possibilities each.
Then, in class, I drew these pairs out in larger boxes and determined which two were the best abstract representations of my words. I chose the alternating, jagged-edged pattern for “intense” because it made me think of someone being completely zoned-in on something, and I chose the softly-curving lines for “mild” because it reminded me of cool water which could be used to relax the intensity of something. Thus, I had my two antonym abstracts!
To make the abstract pictures, we were to use black and white cut paper. Using Exacto knives, I cut the whole black shape from my “intense” picture out and rubber cemented it onto white paper to get the swirled jagged-edged shape. For the other picture, I took a piece of white paper and cut small slits in it and mounted that on a piece of black paper so that the black would show through to create the curved edges, also tacked with rubber cement. These became 1/2 of my finished product, which would be the abstracts and photos mounted on a thin board to create something that vaguely resembles a window, though that was not the goal, the goal was to just show the relationships between the two abstracts and between two photos, and also amongst all of the pictures.
Then, I discovered, that the abstracts were the easy part! I was very satisfied with what I had come up with, but the second half of the project was taking a picture to represent our words. Again, I was at a loss. Being able to come up with shapes in my head was one thing, but making a picture that I had much less control over (since I wasn’t actually drawing it) was much harder. And I spent a lot of time thinking and looking. I was up against the deadline once again, but in the end I only needed to take two pictures because I knew exactly how i wanted the pictures to look. I came out with a picture of a section of my friend’s purse and a picture of some curved pipe cleaners on a cardboard background.
I know I sound frustrated by the project thus far, but nothing beats how frustrating it was to try to make all of the squares perfect. Each square of both the abstracts and the pictures had to be 6″x6″, and if one was off, it was REALLY obvious. I roughly trimmed them all at first, and then I went ahead and tacked on a piece of mounting paper to the back of each one. After that I made sure to trim them all to the exact same size by trimming them all together, one on top of another. Once they were all trimmed (making sure that the mounting paper was flush with each picture) I had to mount all of these things onto the board. The mounting press seemed like a great idea, but little did I know that I should have turned the heat up because it took FOREVER to fully mount it all, and in the end I had to touch up the corners with rubber cement. But in the end, the final product came out very nice.
This exercise was gesture drawing, where you try to draw something without looking at the drawing itself and instead focusing on the subject only. We used our hands and, just as it sounds, it’s pretty difficult to draw a decent hand without looking! Professor Ruby played music for us- to time us for the drawing periods (and switched up the tempo and lyrics vs. no lyrics to give us a sense of what we prefer to draw to). We were to look at our hands and draw them until the song was over and when the song was over we inspected out drawings and inevitably laughed at the child-like scribbles! Here are some of my better right-handed drawings:
The portion that looks most like a hand was drawn while the slow song without lyrics was playing, even though I prefer drawing to songs with lyrics, I think my brain finds them distracting because the one next to it was drawn during the fast song with lyrics. When I was drawing my chair, I preferred the lyrics, but then again, those were also songs I knew so I could tune out the lyrics. It will take some experimentation to figure out what works best for me. We then tried drawing with the other, non-dominant hand, so in my case, my left hand:
As you can see, when I’m drawing with my left hand I have no spatial perception so my hands end up long and wide and I try to retrace my lines…in the wrong spot. The bigger drawing in the above picture looks like a deformed dragon foot. There’s a thumb, it looks like just above it on the right…but after the thumb it all disappears into squiggles. After the hands (I ran out of hand poses, so the change was good!) we tried other things. Still Lifes and faces were up next.
It’s a small picture, but these are faces, and portions of faces. I was apparently picasso in my former life. The small, compact drawing just to the left of center was supposed to be the profile of Professor Ruby. Here are some others…
Still very Picasso, and faces bleed into each other, but it’s kinda cool in its own right. It was a draining task to draw without looking because it makes your brain function in a way that feels abnormal, but nonetheless, a nice way to spend a couple hours. It definitely made me forget about my worries to focus on drawing!
We were exposed to some really amazing art on Thursday night! The vivid colors and the may layers in all of Jiha Moon’s pieces were really inspiring and just plain enjoyable to look at.
I learned a lot about Jiha Moon and her unique style at her talk on Thursday, but a few things stuck out at me. First, she’s younger than my parents! To think she has such a large portfolio and so many fantastic credentials as young as she is is incredible. The biggest theme in her works is misunderstanding, and she used the example of people asking her about her race, whether she is Chinese, Japanese, or Korean. She is, in fact, Korean, but this confusion drives the many layers to the subjects of her works. She incorporates many cultures, styles, textures, and even mediums in her pieces. I think her greatest achievement is being able to present misunderstanding to us in a way that we can accept and enjoy.
She has recently done a few pieces as above where she incorporates tchotchkes that she has accumulated in her travels into her art, deepening the cultural significance and encouraging cultural conversation. I don’t believe anyone else could create the pieces as she does because she has the understanding of the misunderstandings that she is trying to present, and she knows how to present them to us. Her ideas tend to be molded by her materials, but I think she also adjusts her ideas when she finds something she wants to include (as with the tchotchkes). I hope to be able to take her Drawing class next spring!
My inspiration came from this picture that I ran across on Tumblr, with a caption explaining the origin of the heart shape we all have come to associate with love.
I was inspired by the mixture of the ideas of love and visceral human parts. I decided, naturally, to give this valentine to my boyfriend, and I thought that going off of this picture was very fitting. He isn’t so much into the cliched, sappy kind of expression of affection, so I wanted to appeal to his manly-er side :). As I was thinking about this, I was thinking about other materials that I wanted to use and was considering the metaphorical things I associated with love. I thought of the pretty side, the lustful side, the utilitarian side, among others and wanted to represent these in my piece. I decided to, instead of having the veins and arteries, put netting to represent the side of love that is something one hangs onto, the support system, the utilitarian side of love. Then, on the other side, I wanted to use lace to represent the pretty, delicate side and I decided to make it black lace to incorporate the lustful, dangerous side of love. These two materials were to come together in the middle to represent the meshing of these ideas on top of a heart shape to represent love.
As for my text, I decided to put a bit of a spin on the cliche that “Love is Blind”. I got this idea from a Youtube video that Rachel showed me when we were painting our nails for Valentines Day. It was a tutorial on how to put designs on your nails, including putting braille lettering on them. I thought this was a neat idea and decided to put it into my piece. Thus, the text in my piece spells “Love” in braille because love is blind, and is often something felt rather than seen.
This is my first mockup of my ideas as they came together the first day in art class:
My original idea included doing a more accurate representation of the human heart with blue pipe cleaners as the veins on the heart, but after a suggestion from Professor Ruby, I decided to use some of the same felt, just flipped over to the non-patterned side to show (more subtly) the veins. At this point, I hadn’t figured out how to put these hearts together, or what to back it on, or basically anything but what you see in the picture. But, by the time we had our critique in class, this was the final product:
I backed it on some watercolor paper that is painted with a lavender color. I chose lavender because I wanted to make sure it wouldn’t either distract from the piece or blend in too much. I think it worked out well for what I wanted it to do. As for connecting the hearts, a suggestion from Rachel prompted me to use Safety Pins. Now, I liked this idea but i thought that it really needed to be doing more than just merely holding them together. I had to be careful that they didn’t draw too much attention to themselves, but also that their significance was not ignored. I thought the metal pins were better than string because they were more sturdy and long-lasting, but still susceptible to bending, breaking, and needing repaired, like all relationships sometimes do. I decided to connect them to the “Love” by using them to spell out “Our” so that they could be both unobtrusive and a big part of the piece. Subtlety is one of my favorite things in art pieces. When I glued all of this to the paper, it seemed really…unfinished and not cohesive. So I had more beads, and I didn’t want to overuse black for fear of it becoming too dark and no longer a loving gift. So red it was, and I used the cliched heart shape to emphasize the “Valentine” aspect.
I was really happy with how this turned out, my ideas did change as I worked with the materials. I had to make the net myself, cut the lace down to shape/size, and figure out how to make the safety pins do what I wanted (It was a lot harder than you think). The biggest change, I think, was the border because I had originally not planned on one, but as I got more “finished” the piece was telling me to put one in.
If I had an unlimited budget to do this piece, I’d use actual hearts meant for dissection (from a male and female animal, hopefully something large, but also something that mates for life like humans, even though those are usually birds), and stitch them together with real wire. I know it sounds morbid and icky, but that would bring me closer to my original idea. Then I would buy something like basketball netting for the net side and sew it into the hearts and buy some nice lace for the other side. Then, I would find some fixing liquid to make them both stand up on their own to complete the heart shape. I would stitch the word “our” into the hearts and then have the braille hanging on fishing line below the hearts. By this I mean I would string the beads onto different pieces of fishing line to hang below the heart and spell out “Love” in braille. As for casing, I would put it in a plexiglass box and hang it from the top so it looked like it was floating (and I would have to make sure the box was temperature/humidity controlled so the hearts didn’t start to degrade because even when preserved, they can still rot eventually).
I think I enjoyed the chair project more than this one, but that is mostly because I enjoy having guidelines to help jumpstart my ideas. But I was definitely happy with this one!
This chair has certainly been a journey. From my child-like outside of class drawing to my more sophisticated (but by no means perfect) guided drawing, there’s a lot of improvement there.
I was very skeptical of the technique we were told to use (string and charcoal while standing at an easel), but as I produced version after version of this chair (documented in my previous post), I began to fall in love with the project and enjoy the corrections I was having to make and the constant draw-and-erase of every line that gave the piece the mood that it has. I loved spending mental alone time with the piece, where it was just me in my own world with my music and the charcoal in my hand, ignoring the passage of time which really suffocates me sometimes. We were told not to focus too much on shading, but right at the end of my work on my rendering of the chair when I was doing less large-scale erasing and re-drawing, I began to shade it a little in certain places to give it my own stamp. Of course there are still things that I’d like to change and I would really like to take the original chair and this drawing and look at the both of them to start fresh and create an even better rendering of the subject, but it’s time to move on to a new project. I’m really excited for it!
When we started the guided chair drawing project, the end of the first class gave me a few lines on paper and I wasn’t sure where we were going with this or how it would end up being a chair. I was apprehensive about using the string method to measure distances, angles, and proportions, because really, what is string going to do?? But the next class showed me just how useful it was and by the end of the first hour of class I had this:
I was honestly pretty proud of how this first attempt came out, especially when comparing it to my first unguided drawing. It’s a little too stout compared to the original chair (pictured above, though not at the same angle), so once Professor Ruby came around and gave me a few pointers on how to make it look more like the chair I was looking it, it ended up like this by the end of class:
Much more dirty, but also much more believable as being a picture of this particular chair! I need to do a little more work on it, but at this point it’s the best chair I’ve ever drawn so I left happy with it!
This was before the break on Thursday the 30th. It had been adjusted about ten times in multiple places by this point in class (as evidenced by the increased shadow in the picture)! This was also after Professor Ruby came through and pointed out a few spatial relationship things like seat-to-skirt ratio and the dramatic curves of the legs (I promise I wasn’t trying to make it jump off the page!). I also had music today, so I got really in the zone for creating art. And then at the end of class this came along:
The leg in the foreground on the right side of the picture is now parallel with the ground instead of lopsided as it was before. The curves of the back legs aren’t quite as severe, and I made some adjustments to the piece at the top of the chair (I measured the relationship between it and the skirt of the chair to correct it some). I still feel like there is work to be done to the seat of the chair because I still don’t entirely like it. I guess that is what the out-of-class time is for!
Above is the “final” product of the chair project. I spent more time than I had originally intended on it today, but that was mostly because I got into the zone and decided to give in to my desire for shading and adding the slats in the back. I had to do a good bit of cleaning up on the back to make the slats show up, and also in some of the places where I added shine. Im really happy with how it came out, especially once I smoothed out some of the shadow where other lines use to be. And the foremost leg is FINALLY parallel (I know it doesn’t look much different than it does in the picture before it, but trust me, it’s now more parallel.) I also added the two lines versus the one line to mark the corner on the foremost leg because when I was looking at it in the later afternoon light, I realized that adding that would make the drawing coincide with the subject more. Ready for the critique on monday!