Five Min Quicksketch Female Sabrina Workbook

D R AW I N G P R O G R A M
Figure Drawing Phase III:

Five-Minute Quick Sketch
Female/Sabrina
OVERVIEW
We have worked our way up from the twos and threes and now we have arrived at the fives. As I have
said before, this is the most lenient time amount for this phase. I should note that for future practice,
you can do tens and fifteens as well. However, I would try to be very disciplined as you get better and
stay to the time frames outlined here. We are working from Sabrina as we kick off the fives. Try to
focus again on the lyrical quality of her poses. Draw upon your ever-increasing understanding of the
abstraction and the efficiency it affords for capturing the “essence” of a pose. Try to really dissect these
sketches and the impetus behind them. As with so many things time will reveal the secrets, which are
practice, patience and application of these concepts.
Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 1
Female/Sabrina
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Get yourself a cooking timer
or use your iPhone to mimic
the times I am using. If the
twos and threes are too difficult,
you can always focus on the
fives. However, eventually work
your way down.
SETTING UP
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Good luck and have fun!

1
Female/Sabrina
ASSIGNMENT: FIVE-MINUTE QUICK SKETCH–FEMALE/SABRINA
As with all quick sketch the goal of these five-minute sessions is to try and push a little further into
this process. We have two more full minutes to explore the essentials of these poses. Keep in mind
that you are working to establish a familiarity with the rhythmical abstractions, mannequinizing,
simplification, idealization and shape recognition.
Part 1: As always, carefully watch my demonstrations of these five-minute poses.
Part 2: Look over the handouts in this workbook.
1) Revisit the simple abstraction first especially if you are newer to this discipline.
2) As you gain confidence/dexterity start looking to the more advanced abstraction.
Part 3: The advice I gave you for the twos and three still applies. Utilize the tracing paper method
to help assist in breaking down these poses.
1) Remember to freehand draw the tracing breakdowns to reiterate what you have discovered.
Note: You may want to go through the whole phase a second time using the more advanced abstrac-
tions. Revisit it in a month or so, but this time do the twos as threes or fives, the fives as twos, etc.
You get the point. Make a game out of it, and encourage your online mentees to do the same if you
are working your way up the guilds.

Female/Sabrina

Female/Sabrina

Female/Sabrina

Female/Sabrina
This pose has a graceful flow and arc to it.

I would definitely pick the right side as the
dominant. Really pay attention to the core
shadow running down the figure.
This is where we can really try to get full

figures drawn from top to bottom. You
can still vignette from time to time, but
on these expand the scale a bit and work
systematically to the ground.

Female/Sabrina
This kneeling pose is more active on the

right and inactive on the left. It is a very
straightforward pose, but these can some-
times prove tricky. Try to stay in the
pocket–this means in the right state of
focus and intention.
This is a charming little sketch. There is

some complex mapping and line manip-
ulation going on. Remember to lock down
your shapes and work towards stopping
your lines intentionally and abruptly.
Notice how I sort of flick my strokes in
a small choppy yet intentional manner.

Female/Sabrina
This is a really beautiful back pose with

a nice twist to it. The weight distribution
on the left leg should be noted. The arm
up on the right throws the active side to
the right. This is great for the back ab-
straction.
I really like the lock down on the back

anatomy. Let the center line, or spine,
lead the way. Also, take note of how I am
locking down the rhythms around the
rear. Keep working on drawing through
the form. It will improve the more you
practice.

Female/Sabrina
Below you’ll see an elegant, subtle back

pose with a slight twist. The heavy shadow
pattern should assist in navigating the
forms. Try to lock down this pattern while
paying attention to the negative and pos-
itive shapes.
A nice execution of the back pose. Just

look at the complex lock down of the
mapping of the back. Also look at the
mapping around the rear. Stay present
and really focus. This is sort of like doing
visual math problems for hours. Spread
it out a bit so you don’t burn out.

Female/Sabrina
This is a nice back

reclining pose. Poses
like this one can be
challenging in class
depending on how the
class is arranged. The
active side is usually
the top side when the
model is seated on the
ground.
This drawing captures the

essence of the pose well. The
wedging of the rib cage and
pelvic area create almost an
accordion effect. The mapping
is kept quite simple with a very
effective use of the abstraction.
Don’t feel as though you have
to use every line.

Female/Sabrina
This pose makes a very

strong graphic shape.
The right is more ac-
tive. There is a lot to
contend with so take a
deep breath, set your
intention and relax
into it. Remember,
speed in drawing and
painting is an illusion.
It only looks like we
are moving fast–
instead we are moving
slow and methodically,
not making careless
strokes and giving
the illusion of speed.
The sketch to the right has a

strong quick read. I didn’t get
to the left leg but no worries,
sometimes you aren’t able to
complete the drawing. The
most important thing is you
are following the procedure
correctly. I would take a half-
finished conscientious effort
over a slapdash one that has
everything in but is sloppy.

Female/Sabrina
This is a quintessential seated pose. It re-

minds me of something Andrew Loomis
would set up. Notice the nice thrust of the
torso forward. The crossed legs are also a
nice touch. I would emphasize the left as
more active.
I like the mapping and the fact I left in a

lot of the abstraction lines. Really take the
time to look over these and start commit-
ting them to memory.

Female/Sabrina
This is a great seated reclining pose with

crisscrossed legs. The slight tilt of the head
gives it a flare that adds to the overall
character of the pose. I always try to cap-
italize on these subtleties. The active side
is on the left.
I personally find seated poses with criss-

crossed legs very challenging. This is a
solid execution, but there is always room
for improvement. Don’t just do these half-
way. If you are in the guilds we are going
to really look these over before giving
them an o.k.

Female/Sabrina
I love this sort of Bridgeman pose. The

distribution of weight and foot position
are great. The left side is the more active,
and the longest flowing lines will be on
the right. Enjoy!
I channeled my inner Frank Frazetta and

Bridgeman on this one. I love the hand-
ling on the right leg. I did notice the head
is a little small. This does make her more
heroic, but since it was unintentional I’ll
take note. If it starts happening all of the
time, I will need to watch it more closely.

Female/Sabrina
This pose is a great example of the differ-

ence between a dancer and a non-dancer.
I have seen Sabrina hold a pose like this
for five minutes or more. The active side
is on the right.
A strong drawing to end this session of

fives. Play these over several times before
starting in. You will still be using SIPDE
but at a more fast-forward pace. Always
work within your capabilities–it is not a
race or competition.


Five Min Quicksketch Female Sabrina Workbook

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D R AW I N G P R O G R A M

Figure Drawing Phase III:

Preserving the Traditions of the Masters

Good luck and have fun!

Preserving the Traditions of the Masters

ASSIGNMENT: FIVE-MINUTE QUICK SKETCH–FEMALE/SABRINA

Part 1: As always, carefully watch my demonstrations of these five-minute poses.

Part 2: Look over the handouts in this workbook.

2) As you gain confidence/dexterity start looking to the more advanced abstraction.

Preserving the Traditions of the Masters

Preserving the Traditions of the Masters

Preserving the Traditions of the Masters

Preserving the Traditions of the Masters

This pose has a graceful flow and arc to it.

This is where we can really try to get full

Preserving the Traditions of the Masters

This kneeling pose is more active on the

This is a charming little sketch. There is

Preserving the Traditions of the Masters

This is a really beautiful back pose with

I really like the lock down on the back

Preserving the Traditions of the Masters

Below you’ll see an elegant, subtle back

A nice execution of the back pose. Just

Preserving the Traditions of the Masters

This is a nice back

This drawing captures the

Preserving the Traditions of the Masters

This pose makes a very

The sketch to the right has a

Preserving the Traditions of the Masters

This is a quintessential seated pose. It re-

I like the mapping and the fact I left in a

Preserving the Traditions of the Masters

This is a great seated reclining pose with

I personally find seated poses with criss-

Preserving the Traditions of the Masters

I love this sort of Bridgeman pose. The

I channeled my inner Frank Frazetta and

Preserving the Traditions of the Masters

This pose is a great example of the differ-

A strong drawing to end this session of

Preserving the Traditions of the Masters

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