Drawing Marcia on 22/06/2010

Last night I cleaned my pastels by wiping each one in turn with a damp cloth. I washed out the trays in which they are stored. I sharpened my pencils. So I was ready for anything. Sometimes one can plan a strategy for approaching life drawing on a particular day, but I have recently just turned up and responded to the situation. What it is that suggests a certain reaction is actually a very complex formula: the ambiance of the studio, how one feels, the model, etc., etc. Today I think it was the vivid colours of the cleaned pastels (which suggested I might use them in their raw unblended state); the model herself who in the ten minute quickies presented poses which are attractive and I felt demanded a simple and bold response; the strong areas of light from a spot-lamp; and in relation to my recent life drawing work a change from the careful use of charcoal as layers of drawing were rubbed down and then built upon as the final form was searched for.
The first four drawings are all ten minute quickies on A2 cartridge using charcoal and pastel.

The next three again use charcoal and pastel but step up to A1 cartridge. They are each about 30 minute drawings. I was directly in front of the model, and wanted to capture both the form itself and the contrasting light and shadow areas.

The blue drawing is from the same position.

In the above two I felt I was not capturing the elegant and slender femininity of her body. So for the red drawing I moved about a metre and a half to my right, and I felt this worked. I mapped out the dark tone areas by drawing a light grey pastel on its side across the paper. A light red conte stick hatching gave further emphasis to the dark tones which were then punctuated with a dark red soft pastel.

For the final drawing of the day I moved back across the front of the model to view her from the opposing viewpoint. The tonal contrasts seemed to be even greater from this viewpoint. I usually resist using outlines but in the way this drawing evolved they seemed to be called for. I rarely do backgrounds but felt a sunny light source might be suggested.

I really enjoyed today!

Drawing Jasmine on June 15th 2010

The second day with Jasmine. We started as usual with three 10 minute quickies including the crouched pose below.The main pose was the same as two weeks ago and I moved across the studio to view the model from the head end as this presented a really exciting challenge. The first drawing at A2 aimed to capture the 'structure' and 'geometry' of the form and understand its 'perspective' and 'proportions'. These I believe to be the four basic ingredients for the design of the composition.

Then on A1 cartridge I translated this learning into a fairly minimilist drawing and assessed the correctness of the proportions of the various parts of the body to each other. The adjustments I then made in the third drawing will be obvious when the two are compared.

I am really pleased with this drawing. I love the 'organic' form of the composition, and the rounded three-dimensional feel I have achieved. About six layers of charcoal drawing were each rubbed down in turn either with a cloth or a rolled and pointed piece of kitchen roll. A hard eraser lifted the charcoal to create the highlights. I believe I am beginning to realise the real potential that charcoal has to offer.

Portraits of Gladys on 03/06/2010

So, this is my first attempt at portrait drawing, except for a very early try about three years ago. These are posted in the sequence they were drawn. All are on A2 white cartridge paper. The first is the product of about five layers of drawing, in charcoal, with each drawing rubbed down with the hand and then built upon. Highlights were then added with an eraser and a touch of white chalk The second is a very quick drawing in which I attempt to introduce my slightly more 'energetic' strokes.

Then I went to pastel and applied a selected set of colours.

And finally a quick 6B pencil drawing with just a touch of colour.

I'm really not too sure what to make of these. I did enjoy the experience. And I am rather pleased with the first one. I'm still reflecting as to what learning to take forward into life-drawing next time, and will add something if and when it becomes clear.

Drawing Jasmine on June 1st 2010

It is four weeks since my last life-drawing session. I have been to Croatia for three of those weeks: visiting family, eating sea-food everyday, exploring fortified towns, enjoying the warmth of friendly people and the sun and the islands. Upon my return, a week of physical activities: planting out lettuce and brassicas, squash, cucumber and courgettes, peas and beans, and sweet-corn, all of which had been growing in pots in the poly-tunnel whilst I was away. And so it was, with some hesitation, and a feeling of uncertainty about my drawing confidence, that I re-engaged with my Tuesday life-drawing class, run by Angela Palmer at Brockweir in the Wye Valley, on the border between Wales and England.
As usual at the start of the day three 10 minute drawings. My technique is here, but they lack a certain quality of 'life' and 'spirit'. They are all on A2 white cartridge, using conte crayon. Below are the three 10 minute drawings at the start of the afternoon session. I see in these an engagement with the flow and poetry of the female form. The lines and marks on the paper are free and flowing. This indicates to me that I am back.

So , let me reproduce the two I am happy with. They also represent and illustrate two recurring images of the female form which fascinate me and with which I have become almost obsessive about. Firstly, what I refer to as the compacted and triangulated form.

Secondly, that which I have referred to in the past as the iconic female image.

For the charcoal and pastel drawing below I had no plan. After the four week break from life-drawing I had no particular 'thread' to pick up and take further. The perspective of the overall form of the body, the magnificent bottom and thigh, and the contrast of this with the complex geometry of head, arms and breasts, were the principal issues in setting up the drawing. I very quickly constructed the drawing to deal with these issues, and then set about throwing colour at the paper. I would say that the result has a certain un-controlled dynamic about it. This is on a sheet of A1 white cartridge paper.

After lunch I felt relaxed, and felt that I was 'back into life-drawing'. This is charcoal on a buff A1 newsprint paper. There are about six layers of drawing each rubbed over with tissue. Marks from each layer remain to exhibit a history of the drawing process as the final result is searched for. Whilst I was pleased with the composition of the whole body on the paper, I felt that the mountainous landscape of arms, hands and breasts required emphasis so I have cropped this part of the drawing to end this posting with.