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.

Drawing Michelle on 26/10/2010 & 2/11/2010

Some ten minute quickies to start each session with.

Three drawings of the same pose in pencil on A1 cartridge paper.

Two pencil drawings of the same pose from a different position in the studio.

And finally, two quick charcoal drawings to end the day.