At Extreme Poses today I chose an easel position within half a metre of the nearest part of the model and I felt that each pose was asking for a particular response. So the four drawings are different. Firstly, the attention is on tonal value and variation, and focuses not on her back but on the shapes beyond. Three tones of grey compressed charcoal on smooth very white A1 cartridge but treated with a coating of clear gesso to help hold the charcoal and so accentuate tonal contrast. The charcoal marks are as applied, with no rubbing back.
Secondly, I felt the call was to outline the forms of the different parts of the body as they overlapped each other and to capture and emphasise the perspective as she lay in the ropes. 2B and 6B pencil on smooth white A1 cartridge.
This pose appeared to glow so I chose a beige A1 newsprint treated with clear gesso which helped hold the coloured conte strokes. Recent engagements with
lost edges were thought about during the construction of this drawing.
Finally, a fairly energetic and quicker drawing (we were given about 20 minutes as opposed to 30 minutes each for the three above) in which I used two tones of grey compressed charcoal on an A1 smooth white cartridge paper. The lighter tone outlined the first enquiry into describing the basic form, which was followed by the darker toned compressed charcoal stick to finalise the form and to help the play in tonal variation.
Secondly, I felt the call was to outline the forms of the different parts of the body as they overlapped each other and to capture and emphasise the perspective as she lay in the ropes. 2B and 6B pencil on smooth white A1 cartridge. 
This pose appeared to glow so I chose a beige A1 newsprint treated with clear gesso which helped hold the coloured conte strokes. Recent engagements with lost edges were thought about during the construction of this drawing. 
Finally, a fairly energetic and quicker drawing (we were given about 20 minutes as opposed to 30 minutes each for the three above) in which I used two tones of grey compressed charcoal on an A1 smooth white cartridge paper. The lighter tone outlined the first enquiry into describing the basic form, which was followed by the darker toned compressed charcoal stick to finalise the form and to help the play in tonal variation. 
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