Drawing Natalie on 21/10/2010

Again with the model Natalie suspended in the middle of the studio. But today was very cold, white frost across the fields, and extra jumpers to keep warm. So, for the first pose, Natalie kept her robe on whilst the heaters warmed up the studio. I am keeping with my renewed interest in pencil technique. I think I will be pursuing this approach over the next few sessions to see where it takes me.
The next drawing was for about 30 minutes. I had just started to place emphasis on the darker tones of the feet when Natalie had to terminate the pose due to discomfort from pressure points in contact with the rope structure. For me this termination provided an insight. Perhaps, in order to enhance the perspective, a drawing should be made bolder in the foreground whilst 'fading' into the distance. I attempted this again with the next pose.

You will see that generally, I do not include the ropes in my drawings. But if you look back at the last drawing it is obvious that the weight of the lower legs and the feet are supported on something (i.e. the ropes) and that the hands dangle over ropes. There are also supports from the rope structure under the model's bottom and across her back. However, I am excited by the geometry and the dynamics of the pose when the ropes are not included in the drawing.

But, next is a drawing with a suggestion of the ropes included. In this drawing I have also made a special effort to capture the perspective in the composition, i.e. to emphasise the relative large size of the hands and feet in relation to the torso. This also requires particular concentration to be given to the foreshortening effect of both arms and legs. I am loving the challenge of this type of pose, and it is possible to select a position in the studio where my easel is close to the model. In fact, for the last two poses the feet of the model were within half a metre of my easel.

Drawing Natalie on 14/10/2010

I'm at Extreme Poses at Pegasus Art again, with Natalie suspended at, or just above, eye level in the centre of the studio by a network of ropes which hang from the ceiling and are anchored to the floor. So there is no movement and the model remains in the same position, as if she were seated on a chair, reclining on a sofa, or any other 'usual' pose. I have described the experience in earlier postings so will not repeat what the differences are to other life-drawing classes.
Here are six drawings completed during the class, each about 30 minutes or just over, on A2 cartridge paper, using a series of techniques with pencil, willow charcoal and compressed charcoal, which I have described in a little more detail in my previous posting 'Drawing Penny on 12/10/2010'.

One of the issues I have become concerned about and one which I have grappled with on many occasions is the inhibiting effect which the boundary of the paper has on one's attempt to create an accurate representation of the relative proportions of parts of the body and an accurate drawing in terms of scale and size of each part of the body shown. For example, the head is drawn too small in order to get it on the paper, or the leg is shortened in order to include the foot. I am sure most people have had this frustrating experience. In the second drawing above the left shoulder should be much higher, but it had such an interesting form and it was essential to include it to give the twist to the torso shoulders, that I (subconsciously) lowered it to within the boundary of the paper.

To nullify this problem Paul Fowler our tutor suggested I place a sheet of A1 white paper behind my piece of A2 white drawing paper. This I did and immediately 'the conceptual space' in which I was placing my drawing was freed up and extended. The edge of the A2 sheet was barely visible. The last three drawings were done in this way and to me there is no distortion to any part of the body in these three. The A1 sheet had very few extended bits of the body drawn around the clean area when the drawing was removed, but its essential role was to extend the space within which the drawing was being composed and this was a 'psychological space' rather than something to draw on (I hope you understand what I mean).

I am sure this represents a well known and well researched and extensively written about phenomena in life-drawing, but for me it is yet another of those fascinating issues which I am discovering along the path of my life-drawing journey.

To avoid this problem an obvious answer is to draw small on a large sheet of paper: but I draw big and like to fill my paper.

A welcome outcome is that the drawing completely fills the paper. Of course one can always crop a drawing after it is completed: but I consider this to be cheating.

Two final points: firstly, I have included a suggestion of the ropes in the third drawing, but actually I do not really notice them when drawing, and I do like the body forms and positions which result from the suspended model. Secondly, for these six drawings my position was about one metre from the model. Compare this to my previous posting 'Drawing Penny on 12/10/2010' in which I was positioned about four metres from the model.

Drawing Penny on 12/10/2010

Three warm-up drawings, 8 to 10 minutes each.Another look at the pose we had last week also. A1, charcoal, compressed charcoal and pastel.

For the next drawing I decided to introduce hatching in combination with my other mark techniques.

The following three drawings were completed after lunch. Again they are quick, 8 to 10 minute drawings, on A2 paper. I have cropped the first one as the proportions of the pose suggested to me that a square presentation would be appropriate.

The main drawing of the afternoon session concentrates on a variety of marks which were built upon each other in a deliberate order. These were:

a) a search for the basic form with a lightly applied HB pencil,

b) initial blocking in with willow charcoal of the dark tone areas,

c) these were then pushed right back using a small paint brush,

d) the darkest tone areas were then emphasised with a black compressed charcoal stick,

e) hatching was then introduced which was supplemented where necessary with an additional application of willow charcoal usually rubbed down with the finger. Hatching both with a graphite pencil and a charcoal pencil seemed also to help soften the edges of the earlier blocks of dark tone,

f) finally, a white pastel was a used in a limited way to bring out the highlights. In places an eraser also helped to bring out the highlights in places where for example the brush had taken charcoal across them.

I am very pleased with this last drawing, although the hand is rather clumsily drawn and is certainly not the graceful hand of a female, I have achieved a sculptural form by utilising a variety of mark techniques.

Drawing Natalie on 07/10/2010

I am now paying a regular visit to Paul Fowler's 'Extreme Poses' at Pegasus Arts in Stroud. I'm being joined in the travelling by Angela Palmer who runs the Tuesday Brockweir classes in the Wye Valley. So, we can share the petrol costs, and also the toll charge as we enter back into Wales, from England, across the old Severn Estuary and River Wye Bridges.
I am so pleased that the model Natalie seems to have taken up residence in Paul's studio as she is a most amazing model. She can handle the challenges of being suspended by ropes; she holds her pose with almost imperceptible movements for the full duration, usually 30 minutes but sometimes upwards of 40 minutes; she has a fascinating body in which her skeletal framework presents a diversity of forms, shapes and tonal variations. Her personality issues forth and she engages in a most friendly manner with all those attending the class. Therefore, we all want to draw her, and we all want to draw her well!
The seven drawings below are in the sequence they were drawn throughout the morning and afternoon sessions (in addition, and not posted, were a few A4 sketch book drawings in pencil).

Drawing 1: A2 charcoal on cartridge paper (two or three layers of charcoal drawing each painted-back with a brush until the final form was realised). Drawing 2: A2 charcoal on cartridge paper (see also note above re Drawing 1).

Drawing 3: A2 charcoal on cartridge paper (two previous drawings were pursued in an attempt to understand and grasp the essential characteristics of the advancing left arm).

Drawing 4: When immersed in charcoal for some time I feel a compulsion to engage with colour. So for this pose, before the lunch break, I attempted to capture the leaning forward. A2 toned paper.

Drawings 5 & 6: After lunch which was spent eating our sandwiches sitting by the water, and in the hot 'Indian Summer sun', I found it difficult to continue the path which I had been treading earlier in the day. Two drawings, which I feel do not seem to have a particular outcome, were pursued with equal passion and engagement as any others. So, here they are, and as time passes in future upon reflection there will be lessons to learn. But for now, I am simply posting them! Both are A1 charcoal on cartridge paper.

Drawing 7: This was a challenging pose! A framework comprising arms and hands engulfed the recess of the upper torso. The feet were advanced forward to within the same plane as the hands. I tried to take forward and retain the initial and raw marks of the charcoal throughout the drawing but unfortunately reverted to my 'finger-smudging' technique around the face and above the breasts. I like the composition and the advancing hands and feet. A1 charcoal on cartridge.

Drawing Penny on 05/10/2010

At Angela Palmer's life drawing class on Tuesdays in the Wye Valley I have recently been using my A4 sketch book for the 10 minute warm-up gesture poses with HB, 2B and 6B pencils. I have found this to be a useful discipline and a significant contrast to my usual A1 or A2 drawings. Maybe, in the future, I will put together a posting from a selection of these 'miniatures'. In the meantime here are my three attempts to capture the excitement of Penny's pose. All are on A1 cartridge, and basically using charcoal with some pastel. I've been using a stiff brush to 'paint-in' and 'push-back' each charcoal drawing, until I emphasise the deep tones with raw charcoal or add some pastel to develop the drawing further.
I am beginning to realise that every pose presents a particular issue to engage with and a specific message to convey. Here, I wanted to engage with the power of the model's thighs and how these formed and presented a 'plinth' upon which the rest of the body was poised.