As most classes stop over the summer months of July and August an extra day of life drawing was organised at Ross-on Wye (a second is planned for the middle of August) with one of our favourite models. A favoured format was followed with three 10 minute poses at the start of the morning session and again in the afternoon. Firstly the morning ones, each A2 in pastel and conte crayon on a beige sugar paper. I felt very relaxed doing these, not at all anxious as to how they might turn out, and wanting the activity of making marks on paper to be purely a loosening-up exercise. However, I rather like the carefreeness of approach and the delicacy of execution. In the middle drawing the model has a yellow scarf draped over her shoulder.
Below are the two afternoon quickies. Firstly a typical Penny gesture, arms stretched overhead with breasts and bottom celebrated. Then a seated pose which I particularly requested in which the challenge is to understand and capture the triangulated forms created with the arms and legs. Within the short time a line drawing seemed most appropriate.
The rest of the morning and afternoon was taken up by the following three pieces. Issues of 'perspective' and 'sculptural form' were for me uppermost in the exploration that took place. Both are A1. The first on white cartridge using charcoal with a little conte crayon. A soft white pastel drew out the highlighted areas.
This first drawing suggested to me fairly tall model. Her back is long, and the right leg also appears fairly long and slender. In the drawing below I attempted to correct this impression by particularly increasing the thickness of the thigh and calf. Penny is not a tall model and this drawing represents a fairly true likeness. Charcoal and soft white pastel on beige newsprint.
However, I was still not happy with the shape and proportioning of the bottom so my third drawing attended this issue. And I was pleased with it. Charcaol on A1 cartridge.
Below are the two afternoon quickies. Firstly a typical Penny gesture, arms stretched overhead with breasts and bottom celebrated. Then a seated pose which I particularly requested in which the challenge is to understand and capture the triangulated forms created with the arms and legs. Within the short time a line drawing seemed most appropriate.
The rest of the morning and afternoon was taken up by the following three pieces. Issues of 'perspective' and 'sculptural form' were for me uppermost in the exploration that took place. Both are A1. The first on white cartridge using charcoal with a little conte crayon. A soft white pastel drew out the highlighted areas.
This first drawing suggested to me fairly tall model. Her back is long, and the right leg also appears fairly long and slender. In the drawing below I attempted to correct this impression by particularly increasing the thickness of the thigh and calf. Penny is not a tall model and this drawing represents a fairly true likeness. Charcoal and soft white pastel on beige newsprint.
However, I was still not happy with the shape and proportioning of the bottom so my third drawing attended this issue. And I was pleased with it. Charcaol on A1 cartridge.
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