At 'Extreme Poses' on 16/12/2010

Hoisted up in the studio by the network of trapeze ropes the resultant figure appears to float in air. In these poses which last for about 30 minutes one of the main issues is that of capturing the perspective of the pose as elements e.g. hands, and particularly the feet, come advancing towards one, and the torso , shoulders and head recede into the distance.

In this first drawing I used layers of graphite powder applied with a brush for the dark tones.
In this next drawing I became aware of the desirability of applying heavier lines and marks to those parts of the body nearest to me.

In these final two drawings of the morning I again tackled this issue of perspective, and deliberately exaggerated the drawing of the legs and feet in relation to the rest of the body beyond. I gave them some further emphasis with tonal hatching.

In these final two drawings, with the encouragement of my tutor Paul Fowler, I worked hard to also introduce a 'continuity of flow' up through the composition; a kind of journey through the drawing before one's eyes. The aim here is to unite the closer and somewhat exaggerated elements with the more distant parts of the body, and so produce a more coherent, consistent and complete composition.

All four drawings are on A1 cartridge paper and I am standing at my easel less than one metre from the nearest part of the model. Yes, she is really close!

Drawing a new model at 'Extreme Poses' on 09/12/2010

I spent the morning at Paul Fowler's 'Extreme Poses' life-drawing class where the model positions herself within a network of trapeze ropes hung from the ceiling and tensioned to a fixing in the floor (but as explained in previous postings I do not include the ropes in my drawing and, in fact, become quite oblivious to their existence). I continued with my exploration of pencil, charcoal and graphite powder on A1 cartridge paper. Here are the four drawings from the morning, and a change from Natalie who has been with us for the past ten or twelve weeks but who is now in India for the next year or so.

Drawing Penny on 07/12/2010

As most of the usual courses have ended for the Christmas break a few of us gathered for life-drawing at Alex Brown's studio, over in England near Lydney on the banks of the Severn Estuary. Alex had asked Penny to model before she set off with her son to visit Nepal.
It was a good day for everyone who joined the group. Alex did not intend to do any teaching (he normally runs life-drawing classes, and in my view is a great teacher), however he could not resist offering really helpful advice but spent most of the time doing his own work. Which was inspiring!

We started with two 10 minute poses. I used a medium charcoal pencil on A1 cartridge paper. I lightly explored the basic form and then added pressure to emphasise the key elements of the composition. The frontal view of the model was my first drawing. It is then something of a gamble to do a second drawing on the same piece of paper. But it worked. And I love the way I have captured the model's curvaceous form and the turn of her body.

The main pose for the day I did two drawings at two different positions in the studio. In each case the imperfections, principally in the aspects of 'proportion' and 'perspective', I attempted to correct in the second drawing at each location.

In these I am pursuing my recently adopted technique of using an HB pencil to explore the basic form, followed by a 3b pencil to emphasise selected aspects of the drawing. Either charcoal which is then vigorously brushed down or graphite powder which today I applied with my finger, is then used to suggest areas of darker tone. All these are on A1 cartridge paper.

I then turned to a 'landscape' format for the second location.

Having spent most of the day viewing the perspective from the feet end of the pose I decided on a change and so for the last 30 minutes or so I set my easel close to her head and embarked upon a very quick and spontaneous response to the view before me.

Issues of: foreshortening (the right arm); lost edges (the right thigh); heavier/darker treatment of the foreground (the hair) and lighter treatment of distant elements in the perspective (the right thigh and knee), became highlighted in this piece of work. Also, strongly in evidence is the record of the history of the the making of the drawing, and this 'history' becomes an integral and important element in the character of the final presentation. The initial early lines of the HB pencil are allowed to show through the transparency of the applied graphite powder.

Drawing Ocean on 30/11/2010

A very enjoyable day at Angela Palmer's life-drawing class in the Wye Valley.
Started with two 10 minute charcoal pencil drawings on A2 cartridge. Searching for the form with light application of the pencil then 'firming-in' once the pose and its lines were found. Then four A1 drawings of the main pose for the day from slightly different positions with the principal issues of 'perspective' and 'line and tone' to the fore.

In this first one I was standing at my easel so could see the right breast and shoulder.

In the second drawing I lowered my easel and sat so that I could really emphasise the right hip and thigh and emphasise the advancing feet.

Being pleased with the two above drawings I stood after lunch and set about a bolder approach using HB and then mainly a 3B pencil to explore hatching technique. I feel unsatisfied with the outcome, particularly the consistency of weight of line throughout the drawing. In other words, I feel that a lighter touch would be more appropriate to the upper part of the body to help the perspective.

Sitting down again I feel this last drawing answered many of my frustrations experienced with the earlier pieces. Good points: POSE - advancing feet, celebration of hip and thigh, tilt of head. DRAWING TECHNIQUE - clear differentiation of marks, e.g. HB pencil, 3B pencil, tonal values of clean white paper and lightly applied graphite powder. Weak point: the right hand. I'm sure it is in the wrong position (see earlier drawings) and it is drawn too heavily.

Drawing Ocean on 23/11/2010

On a Tuesday I go all day to Angela Palmer's life-drawing class at Brockweir in the Wye Valley. Today I was all set to do the 20 minute drive over the hills when a phone call announced my new barn would be arriving on a lorry. It was supposed to come yesterday. So I stayed at home and we unloaded the lorry before lunchtime, but by the time we had stacked the components and covered them against the threatening snows it was late into the afternoon. By this time I was desperate for a draw. So I drove over and joined the evening class. One of my favourite models was there. We started with two ten minute poses and then I did two drawings of the pose which lasted all evening but from different positions in the studio. All are on A1 cartridge paper.

For the two quickies I used a medium charcoal pencil, firstly lightly exploring the basic forms and then emphasising with a heavier application of the charcoal. I did not intend to include the whole body and was pleased how the suggestion of the legs helped emphasise the upper part of the body where the main interest of the pose resided. Ocean then assumed the main pose of the evening which was meditative in character. In the first drawing I used a HB pencil to explore and map out the main pose forms which I then emphasised with a 3B pencil. I then used graphite dust with a brush to suggest the darker tone areas, with one or two additions of willow charcoal rubbed lightly with the finger to soften its impact.

For the third drawing of the evening I again used an HB pencil to start with but then I went straight in, fairly heavily, with a stick of willow charcoal to 'block-in' the dark toned areas. I then vigorously brushed away the charcoal but the cartridge paper had sufficient key to hold much of the charcoal whilst still allowing the pencil marks to show through. I then emphasised certain lines with my 3B pencil. A few selected dark tone points were then picked out to add another layer of contrast. A few highlights were cleared with an eraser.

Over the past few postings I hope that observer's will agree with me that a fairly distinctive technique has been emerging. One in which a combination of HB and 3B pencil together with the use of graphite powder, pencil charcoal and willow charcoal results in a form of drawing which has a certain transparency to it so that the history of the 'making-of-the-drawing' becomes an essential part of the final drawing itself.

I am pleased that the pencil has re-emerged in my life-drawing. In this I am making some connections with my life as an architect in which the role of the pencil played a significant part. I am also pleased to be taking a direction in the path of my life-drawing journey which is different to the energetic and colourful pastel phase of some months ago. But what fascinates me is how the learning gained from this pencil, graphite and charcoal phase will be taken into a future pastel phase and change and develop it (whenever it comes).

Drawing Gladys on 16/11/2010

Two quickies to start with, using a medium charcoal pencil on A2 cartridge paper.

Last week I was captivated by the character of Gladys' hands and feet when drawing the same pose but including all the body. Today I decided that I would concentrate on her hands and feet and exclude the upper part of her body. So here are my two efforts. Both are on A1 cartridge paper.

In this first one I explore the basic forms with an HB pencil. I then strengthen the drawing using a 3B pencil when I am fairly certain where the lines should be. I added tone with some graphite powder applied with a brush, and then emphasised the darker tones with some willow charcoal rubbed with the finger.

In the second drawing I attempted to correct some of the proportioning and perspective issues including bringing the left foot further towards me. The same sequence of pencil and graphite powder was followed as with the first drawing but I then, rather crudely in my opinion, explored hatching and cross-hatching as a further way of depicting tonal variation. I aim to become more sophisticated with this technique in the future, because I do love drawing in pencil.

In the afternoon, as last Tuesday, I moved around the studio and did two pencil and graphite powder drawings from different positions. Again these are on A1 cartridge paper.

With this first one I managed to stop myself whilst I still had a somewhat 'minimalist' quality of line and tone. It is so easy to over-do a drawing.

In this next drawing I 'fixed' the first graphite powder application prior to adding a second application to selected areas. The fixative gives an added texture to the surface which helps hold the graphite powder more than the paper itself. So it becomes possible with each application to selected areas to gain an increased variation in the overall tonal landscape.
I was particularly pleased with my drawing of the head.

Finally, to fill in the remaining 10 minutes or so I speedily repeated the pose using two conte pencils and some charcoal on a beige toned paper. Its a crude drawing but helps me to understand something of the qualities I believe I am achieving in my pencil work, or at least some of the qualities I believe I have the potential of achieving in the future.

Exploring pencil drawing by drawing Natalie on 11/11/2010

Here are my five, approximately 30 minute pencil drawings, completed during the day at 'Extreme Poses' at Pegasus Art on November 11th 2010.
I am mainly using pencil (HB and 3B), with some graphite powder applied with a small brush, and a little willow charcoal rubbed with the finger.
Here are the results, in sequence:

Exploring pencil drawing by drawing Natalie on 4/11/2010

This posting is the start of my journey into pencil work. Although I have frequently drawn with pencil in the past, I feel I am now embarking upon a significant path in my life-drawing journey in which I am beginning enjoy and challenge the role of pencil in the life-drawing experience. So I am posting three drawings from a week or so ago which I feel stimulated in me a renewed interest in the art of pencil work.
All the following drawings are of Natalie suspended by ropes, at above eye level, in the middle of the studio (a full explanation of this form of life drawing experience can be found on my earlier postings).

So here we go!

Starting with an HB pencil I move it over the paper in the search for the form of the model before me.

Below I try (unsuccessfully in my view) to introduce some emphasis with a charcoal pencil.

I continue with using pencil only. Firstly, HB to explore the basic form, and then a 3B to emphasize outline.

Below, I introduce some relatively heavy cross-hatching to see how tonal variation can be handled with a pencil.

Again HB and 3B on cartridge paper, and a real challenge to capture the leaning-back pose and the form of the foreshortening pose of her left leg. In the next drawing, after suggesting the basic form with exploratory HB pencil lines, I try to introduce a second layer of a very simple, single 3B line to indicate the principal form of the body.

Drawing Gladys on 9/11/2010

Some ten minute quickies to start with using a medium charcoal pencil on cartridge paper.

Below I start to get to grips with a pose which I am confronting head-on. Starting with HB pencil I then emphasis aspects with a 3B pencil. These are on A1 cartridge paper.

In this second drawing I wanted to bring forward the feet and emphasise the length of leg, both important in constructing the feeling of perspective. I loved the challenge of drawing the hands.

For these last two drawings I moved my position in the studio, but with the same pose. I examined ways of introducing tonal values, firstly through pencil hatching and then with graphite powder applied with a small brush. Both are on A1 cartridge paper.

In the above drawing I decided that I had not got the appropriate upright feeling to the torso, but corrected this in the second drawing.