On May 5th we had Angela suspended in the ropes at Extreme Poses.
Below are two drawings on A2 cartridge paper which has been treated with clear gesso to give a bite for the charcoal and conte crayon.
I then play with the orientation of the drawing and discover that the figure dances.
On May 10th the model was Gladys.
On May 10th the model was Gladys.
Firstly three 10 minute A1 drawings using charcoal and pastel.
I then moved close to the model for two drawings in which I am challenging myself with a perspective looking down upon her head and shoulders.
On May 12 we are again at Extreme Poses with Natalie for the early part of the session followed by Paul a new model for me.
On May 12 we are again at Extreme Poses with Natalie for the early part of the session followed by Paul a new model for me.
The first drawing is a 10 minute study in tinted charcoal pencil on A1 cartridge.
The next is a 30 minute pose in pencil.
Then a 30 minute drawing, which I am really pleased with, in tinted charcoal pencil on A1 cartridge paper.
Then over to the new male model. A quickie to start with.
Then again using a tinted charcoal pencil I drew this pose which appears to be a classic seated 'thinking' pose but the model is in fact suspended within a matrix of ropes suspended from the beams of the studio.
The next is a 30 minute pose in pencil.
Then a 30 minute drawing, which I am really pleased with, in tinted charcoal pencil on A1 cartridge paper.
Then over to the new male model. A quickie to start with.
Then again using a tinted charcoal pencil I drew this pose which appears to be a classic seated 'thinking' pose but the model is in fact suspended within a matrix of ropes suspended from the beams of the studio.
Here I am attempting to create a focus for the beholder by placing emphasis on parts of the body from the left foot up to the right arm and left hand and then to the head. By contrast the curve of the back becomes a 'lost-edge' as do the hair and the toes of the right foot.
On May 17th the model was Gladys who is originally from Nigeria. I struggled with this first drawing but became interested in the technique of using a tinted charcoal pencil and rubbing back the drawing a number of times so bringing out the tonal variation.
I again took up the challenge of moving closer to the model thereby looking down upon her head and shoulder. This is an A1 drawing using willow charcoal on a slightly textured cartridge paper.
Then from a slightly different position and using willow charcoal and black compressed charcoal on a smooth A1 cartridge paper.
On May 19th Natalie was our model at Extreme Poses.
On May 17th the model was Gladys who is originally from Nigeria. I struggled with this first drawing but became interested in the technique of using a tinted charcoal pencil and rubbing back the drawing a number of times so bringing out the tonal variation.
I again took up the challenge of moving closer to the model thereby looking down upon her head and shoulder. This is an A1 drawing using willow charcoal on a slightly textured cartridge paper.
Then from a slightly different position and using willow charcoal and black compressed charcoal on a smooth A1 cartridge paper.
On May 19th Natalie was our model at Extreme Poses.
Firstly a 10 minute warm up. A1 cartridge in pencil.
Tinted charcoal pencil on A1 cartridge.
The following is a pencil drawing on A1 smooth very white cartridge paper with a touch of graphite powder applied with the finger to suggest the darker tones. This was a complex presentation of arms and legs and I was fascinated by the way each part of the body had another part behind it.
After the previous three quite difficult poses for which I had to really struggle in my search for a set of lines and marks to 'more-or-less' capture the gesture and more-or-less present the correct proportions I felt I needed a much bolder attack so I heavily used willow charcoal and rubbed each series of marks back into the paper a number of times.
Tinted charcoal pencil on A1 cartridge.
The following is a pencil drawing on A1 smooth very white cartridge paper with a touch of graphite powder applied with the finger to suggest the darker tones. This was a complex presentation of arms and legs and I was fascinated by the way each part of the body had another part behind it.
After the previous three quite difficult poses for which I had to really struggle in my search for a set of lines and marks to 'more-or-less' capture the gesture and more-or-less present the correct proportions I felt I needed a much bolder attack so I heavily used willow charcoal and rubbed each series of marks back into the paper a number of times.
Finally another pencil drawing with added emphasis from a light brown conte pencil
