Tuesday, 29 November 2016

The Process 3

This is the third of my attempts to say something about my 'process art' with reference to my four drawings at Tony Tribes life-drawing day on November 26th at Arts Alive in Crickhowell.
I so much enjoy the challenges of exploring 'perspective', 'foreshortening' and 'exaggeration' in the context of the lying pose, particularly when I can adjust my position in relation to the model. This often requires me to lower my easel and to sit down. Here we are resuming after lunch so have had nearly three hours standing, and sitting is welcomed. The disadvantage is that my usual kinetic drawing approach is inhibited, in that I cannot easily move back and forth to and from my easel to judge how the drawing is developing. This is essential with most drawings but particularly where the challenges noted above are to be addressed.
Penny is lying on her tummy, with her head on her arms. I can see the lower part of her body over her head. I rarely measure these days, i.e. moving my thumb up and down along my vertically held pencil, but I did on this occasion as I was uncertain as to where to place the top of the head on the paper. In other words how much of the composition would be taken up by the length of the perspective of her body in relation to her head and arms. I was very surprised to discover that the former was about one third, if that, of the later (to start with these two parts appeared that they could be more equal, but I intuitively knew this could not be the case). I also felt that some foreground should be included to give her arms and hands something to rest upon. (Something has just struck me: in composing this process description it is very clear that at the time of this drawing I was fully embracing issues of 'composition'. And one thing that I know I do not consciously address is the placing of the drawing on the paper. Years ago I had tremendous and frustrating battles in getting the drawing on the page. Now, it is the exception when an arm shoots off the paper, unless it is intended. Now, issues of composition are dealt with within my skilled subconcious).
I have included below a drawing of a different model from a few weeks ago, just to view the two together. I enjoyed both explorations of the issues involved. The foot allowed for a fuller engagement with the fun of 'exaggeration'.

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