Thursday, 30 September 2010
Drawing Natalie on 30/09/2010
Both these drawings are from 'Extreme Poses' with Paul Fowler at Stroud. Each exploration of the form is carried out in different colours (conte crayons) so that the storey of the drawing is held on the paper. Both are completed with a charcoal drawing. Both needed a sheet or two of paper to be added to the original in order to allow the full length and character of the pose to be captured. The original sheet is A1 cartridge. The first drawing finalises at 80cm x 120cm.
Tuesday, 28 September 2010
Drawing Dave on 28/09/2010
We continued with Dave, the same model as last Tuesday, and with the same pose. I wanted to continue to explore charcoal as I believe I have entered a period where for the first time I have become seriously interested in a particular technique, and in a particular medium, and in a particular drawing process, sufficiently a) to use this approach for a number of sessions and probably over a number of weeks, in order to explore it and experiment with it and to see where it will lead me on my life-drawing journey, and b) to research and study the work of other artists with a similar approach (I will be posting a list of these artists soon).
This is a willow charcoal drawing on a sheet of A2 white pastel paper. It uses an eraser to bring out the highlights and a stiff brush to knock-back, spread and blend in the charcoal. The brush is lightly drawn over the lower back and buttock to recede this part of the drawing and to bring out (bring forward) the highlights on the shoulders and forearm.
This second drawing uses willow charcoal on a very heavy sheet of A1 cartridge paper. Towards the end period of the drawing I introduced some white pastel to help emphasise the highlights along the tops of the shoulders, the shoulder blades, the right hip and the right thigh. I note the contrast I have introduced between the dark tone of the underside of the right arm and the bright highlight on the upper part of the right thigh. I am very pleased with this drawing!
[don't forget that you should be able to 'click' on the drawing to enlarge it to fill your screen]
This is a willow charcoal drawing on a sheet of A2 white pastel paper. It uses an eraser to bring out the highlights and a stiff brush to knock-back, spread and blend in the charcoal. The brush is lightly drawn over the lower back and buttock to recede this part of the drawing and to bring out (bring forward) the highlights on the shoulders and forearm.
This second drawing uses willow charcoal on a very heavy sheet of A1 cartridge paper. Towards the end period of the drawing I introduced some white pastel to help emphasise the highlights along the tops of the shoulders, the shoulder blades, the right hip and the right thigh. I note the contrast I have introduced between the dark tone of the underside of the right arm and the bright highlight on the upper part of the right thigh. I am very pleased with this drawing![don't forget that you should be able to 'click' on the drawing to enlarge it to fill your screen]
Friday, 24 September 2010
Drawing Natalie on 23/09/2010
Here are five drawings from my day at Paul Fowler's 'Extreme Poses' where the model is suspended within a network of trapeze ropes hanging from the ceiling.
I did lots more drawings but somehow these seem to have been lost on my computer. So I will look for them and then edit this posting at a later date. I will then add some supporting text.
Drawing 1: charcoal on A2 cartridge paper.
A cropped part of the above drawing.
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Drawing 2: charcoal on A1 cartridge paper, with a touch of light blue pastel to bring out the highlights.
Drawing 3: a very quick (10 minutes at the most) charcoal on A2 cartridge, the aim of which was 'to get a feel for the pose'. However, in the end this pose did not last very long, and Drawing Nos 4 was curtailed before it really got underway.
Drawing 4: Also a very quick pastel and charcoal on A2 beige newsprint.
I did lots more drawings but somehow these seem to have been lost on my computer. So I will look for them and then edit this posting at a later date. I will then add some supporting text.
Drawing 1: charcoal on A2 cartridge paper.
A cropped part of the above drawing..jpg)
Drawing 2: charcoal on A1 cartridge paper, with a touch of light blue pastel to bring out the highlights.
Drawing 3: a very quick (10 minutes at the most) charcoal on A2 cartridge, the aim of which was 'to get a feel for the pose'. However, in the end this pose did not last very long, and Drawing Nos 4 was curtailed before it really got underway.
Drawing 4: Also a very quick pastel and charcoal on A2 beige newsprint.
Drawing 5: charcoal on a previously prepared surface of clear gesso with added acrylic colour, applied with a wide paint brush on to a heavy cartridge paper. The result is a strong image.
Drawing Dave on 21/09/2010
The day was spent at Angela Palmer's life drawing class in the Wye Valley. I drive for about 15 minutes over the hills, then cross the border from Wales into England to the village of Brockweir.
In the morning I did three A2 drawings concentrating on the model's head and shoulders and experimenting with different media. Firstly charcoal on cartridge, then pastel with a little charcoal on previously prepared papers. For the first time I used clear gesso with added acrylic colours, applied to 150 gsm cartridge paper with a wide paint brush. I dried them in the sun. I really do love the texture, and particularly the transparency created as the background colour penetrates through the applied pastel as it is stroked across the surface. As you see I used two limited sets of pastel colours which I felt relted to the background colour.
In the afternoon we had the same pose and I moved across the studio to view the model from the opposing end. Again three drawings following the same format. A charcoal on cartridge, followed by a charcoal outline drawing on a gesso treated paper. One or two colleagues suggested I stop at this outline stage on the 'crimson' acrylic as the drawing captured well the pose. So I did. I then completed my day on a 'cadmium yellow deep hue' acrylic with a limited set of pastels selected to relate to the background colour.
In the morning I did three A2 drawings concentrating on the model's head and shoulders and experimenting with different media. Firstly charcoal on cartridge, then pastel with a little charcoal on previously prepared papers. For the first time I used clear gesso with added acrylic colours, applied to 150 gsm cartridge paper with a wide paint brush. I dried them in the sun. I really do love the texture, and particularly the transparency created as the background colour penetrates through the applied pastel as it is stroked across the surface. As you see I used two limited sets of pastel colours which I felt relted to the background colour.
In the afternoon we had the same pose and I moved across the studio to view the model from the opposing end. Again three drawings following the same format. A charcoal on cartridge, followed by a charcoal outline drawing on a gesso treated paper. One or two colleagues suggested I stop at this outline stage on the 'crimson' acrylic as the drawing captured well the pose. So I did. I then completed my day on a 'cadmium yellow deep hue' acrylic with a limited set of pastels selected to relate to the background colour.
Thursday, 9 September 2010
Drawing Natalie on 09/09/2010
So, here I am at Paul Fowler's 'Extreme Poses' life-drawing workshop, for about the third time. And, it is wonderful! Today we had a full studio. People were spreading huge rolls of paper across the floor and craning their necks to look up at the model who was suspended by trapeze ropes from the ceiling. All the easels were occupied. This is a really popular venue and after my experience of today I fully understand why! I am finding that the life drawing ambiance which Paul creates has many dimensions:
Firstly, the unusual format of suspending the model at above eye level and 'suspending' the usual parameters of 'gravity' and 'load transferred to the ground'; then there are the exceptional artists who are attracted to this venue, who one can learn from, and is stimulated by; Paul's choice of models is no accident - he carefully selects those who not only have fascinating bodies but who understand the role of the model in the life-drawing studio - they hold their pose, they absorb the challenge of being suspended for up to 40 minutes; they are cheerful, have personality, and contribute significantly to projecting a dynamic and challenging form.
And finally, Paul himself, who after only one or two sessions with him, as a teacher is able to pick up the path one is travelling and contribute significantly to its development. Just as important, within the context of a short three hour life-drawing class, he is able to come over, stand in front of one's drawing and, after a moments reflection, make a suggestion which is spot on and when followed will make huge strides down the life-drawing journey.
So, what did I do today?
As last week, Paul started us off with a small piece of card, and asked us to do a quick ten minute drawing using a sharp pencil. The first drawing of the day is always somewhat tentative and is designed to get one into the 'life-drawing mood'. Here it is: 27cm x 19cm, HB pencil and charcoal pencil on white card.
But, here below, is the same exercise at the end of the three hour class: 23cm x 28cm, 2H pencil on white card.
We had three main poses, each about 35 to 40 minutes. As described in an earlier posting I have not made any reference in my drawing to the network of trapeze ropes which suspend the model. In fact I am now able to 'see through the ropes' and they do not get in the way of my observation of the model, and so they do not interrupt the dialogue which is taking place between myself and the form of the model before me.
These next two are charcoal on A1 cartridge [I think this is 150 gsm cartridge, so it has a bit of grain to it].
Firstly, the unusual format of suspending the model at above eye level and 'suspending' the usual parameters of 'gravity' and 'load transferred to the ground'; then there are the exceptional artists who are attracted to this venue, who one can learn from, and is stimulated by; Paul's choice of models is no accident - he carefully selects those who not only have fascinating bodies but who understand the role of the model in the life-drawing studio - they hold their pose, they absorb the challenge of being suspended for up to 40 minutes; they are cheerful, have personality, and contribute significantly to projecting a dynamic and challenging form.
And finally, Paul himself, who after only one or two sessions with him, as a teacher is able to pick up the path one is travelling and contribute significantly to its development. Just as important, within the context of a short three hour life-drawing class, he is able to come over, stand in front of one's drawing and, after a moments reflection, make a suggestion which is spot on and when followed will make huge strides down the life-drawing journey.
So, what did I do today?
As last week, Paul started us off with a small piece of card, and asked us to do a quick ten minute drawing using a sharp pencil. The first drawing of the day is always somewhat tentative and is designed to get one into the 'life-drawing mood'. Here it is: 27cm x 19cm, HB pencil and charcoal pencil on white card.
But, here below, is the same exercise at the end of the three hour class: 23cm x 28cm, 2H pencil on white card.
We had three main poses, each about 35 to 40 minutes. As described in an earlier posting I have not made any reference in my drawing to the network of trapeze ropes which suspend the model. In fact I am now able to 'see through the ropes' and they do not get in the way of my observation of the model, and so they do not interrupt the dialogue which is taking place between myself and the form of the model before me. These next two are charcoal on A1 cartridge [I think this is 150 gsm cartridge, so it has a bit of grain to it].
In this first drawing, as with one or two previous poses, the foot becomes a starting point in addressing issues of 'scale'. This is then set within the context of the challenge of 'composition': i.e. the 'diagonal composition' across the sheet, and the 'perspective composition' along the length of the body.
The above was fairly straightforward. However, the second main pose presented, to me, a far greater challenge. The legs and feet came towards me, there was twist to the torso, and the angle of the shoulders was critical to capture.
I attempted to get both drawings within the boundary of the paper.
The above was fairly straightforward. However, the second main pose presented, to me, a far greater challenge. The legs and feet came towards me, there was twist to the torso, and the angle of the shoulders was critical to capture.
I attempted to get both drawings within the boundary of the paper.In approaching the final pose I decided that I probably would not be able to develop or improve upon, today, the charcoal vocabulary which I had been exploring in these two drawings. So I got out my conte and pastel box, and built up a drawing. This was similar to my charcoal approach but with the key difference that each layer was left on the paper, whereas with charcoal it would have been rubbed down and 'pushed-back' into the paper. However, with both techniques, the history of the construction of the drawing is recorded. This drawing has been constructed in five layers (and if you click on it you should be able to perceive the five layers of marks and colours which I used: brown, red and purple, blue for dark tones and black outline). With each layer the form was adjusted, it moved around the paper, it became resolved. 
Thursday, 2 September 2010
Drawing Natalie on 02/09/2010
This was, a good day for me!
Three hours at 'Extreme Poses' with Paul Fowler at Pegasus Art. He started us with a 16cm x 24cm card upon which we were requested to do a quick 'fine pencil' drawing. I cannot show my first drawing: it was rubbish. However, here (below) is the same exercise which Paul asked us to do at the end of the 3 hour life drawing session. I don't do small drawings. I don't do careful and fine pencil drawings. But, I will in future! This was a revelation, for me.
Paul set up two poses for the main part of the three hour session. Each time the model climbed into the net of trapeze ropes suspended from the ceiling of the studio. She placed small cushions at the strategic contact points her body made with the ropes. Paul suggested adjustments to the pose. He walked around the model asking each of us if we were happy with the pose presented. Finally a comfortable pose was achieved. Each pose then lasted about 30 to 40 minutes.
Having previously experienced 'Extreme Poses' I had already made the decision to exclude the ropes from my drawing. This decision is in my view critical. The implication of this decision is that the body is divorced from any supporting structure and issues of gravity, and so the artist is encouraged to address form, proportion and geometry, and if this is achieved then move on to express the contrasting tonal values within the form itself.
So, here we have two A1 charcoal drawings.
It is essential to emphasise that these are 'PROCESS' pieces. What does this mean?
1. they are only worked on in the live life-drawing session (in this case about 30 minutes).
2. they represent a process of 'search' for a presentation of the pose: although my initial aim was to include the full pose within the paper, it became inevitable during the construction of the drawing that the pose would need to extend beyond the boundaries of the paper. I love this freedom. No-one is telling me that there is a boundary to my life-drawing experience. I can go right off the paper if I wish (need) to.
3. not only do they represent a process of search but the drawing itself holds a record of this search. Early lines of exploration are rubbed down but their evidence in the storey of the drawing remains on the paper. History is recorded.
The above drawing originally started within the A1 piece of paper. The legs became successfully drawn. I wasn't going to change these. Then, to get the upper parts of the body in proportion to the legs, gradually they moved upwards, until the head left the paper and so did the hand of the right arm.
In this second main pose I was fascinated by her left foot which came pushing out towards me. All the proportioning within the drawing was related to this foot.
Let me emphasise that these are not finished drawings. This is a concept and approach to life-drawing which very much appeals to me. I said at the start of this blog that I did not work on drawings outside the life-drawing class. So, inevitably, very few drawings which I post are 'finished'. Each is worked upon within the time constraints of the life-drawing session itself. Few reach their completed potential, but each I believe marks a step in the path of my life-drawing journey.
Three hours at 'Extreme Poses' with Paul Fowler at Pegasus Art. He started us with a 16cm x 24cm card upon which we were requested to do a quick 'fine pencil' drawing. I cannot show my first drawing: it was rubbish. However, here (below) is the same exercise which Paul asked us to do at the end of the 3 hour life drawing session. I don't do small drawings. I don't do careful and fine pencil drawings. But, I will in future! This was a revelation, for me.
Paul set up two poses for the main part of the three hour session. Each time the model climbed into the net of trapeze ropes suspended from the ceiling of the studio. She placed small cushions at the strategic contact points her body made with the ropes. Paul suggested adjustments to the pose. He walked around the model asking each of us if we were happy with the pose presented. Finally a comfortable pose was achieved. Each pose then lasted about 30 to 40 minutes. Having previously experienced 'Extreme Poses' I had already made the decision to exclude the ropes from my drawing. This decision is in my view critical. The implication of this decision is that the body is divorced from any supporting structure and issues of gravity, and so the artist is encouraged to address form, proportion and geometry, and if this is achieved then move on to express the contrasting tonal values within the form itself.
So, here we have two A1 charcoal drawings.
It is essential to emphasise that these are 'PROCESS' pieces. What does this mean?
1. they are only worked on in the live life-drawing session (in this case about 30 minutes).
2. they represent a process of 'search' for a presentation of the pose: although my initial aim was to include the full pose within the paper, it became inevitable during the construction of the drawing that the pose would need to extend beyond the boundaries of the paper. I love this freedom. No-one is telling me that there is a boundary to my life-drawing experience. I can go right off the paper if I wish (need) to.
3. not only do they represent a process of search but the drawing itself holds a record of this search. Early lines of exploration are rubbed down but their evidence in the storey of the drawing remains on the paper. History is recorded.
The above drawing originally started within the A1 piece of paper. The legs became successfully drawn. I wasn't going to change these. Then, to get the upper parts of the body in proportion to the legs, gradually they moved upwards, until the head left the paper and so did the hand of the right arm.In this second main pose I was fascinated by her left foot which came pushing out towards me. All the proportioning within the drawing was related to this foot.
Let me emphasise that these are not finished drawings. This is a concept and approach to life-drawing which very much appeals to me. I said at the start of this blog that I did not work on drawings outside the life-drawing class. So, inevitably, very few drawings which I post are 'finished'. Each is worked upon within the time constraints of the life-drawing session itself. Few reach their completed potential, but each I believe marks a step in the path of my life-drawing journey.
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