DON'T FORGET: click on each image to get an enlargement, then click again to see the detailed marks and techniques employed.
So I was prepared to go in with a very positive attitude and do some very bold drawings using my newly acquired acrylics. However, I was completely thrown by the model. Joanne was tall and slim, and her elongated form presented a challenge which was very new to me. As a result my drawings were somewhat tentative as I battled to become familiar with the slender elegance before me. Throughout my six drawings on Day 1 I struggled to capture her elongated form (the longest and most elongated I had come across).
Then, on Day 2 I seemed to come to terms with the issues presented by Joanne and re-engaged myself with some of my current and evolving life-drawing issues. In the next drawing I engage with 'hard and lost edges', and 'the technique of charcoal on gesso treated paper'. As you will observe, she is sitting against a mirror, which I only took into account towards the end of the drawing which helped introduce a dark tone to contrast with the lighter right shoulder although the right shoulder itself was not in highlight. Highlights were given emphasis with a white soft pastel.
Then, as I had originally intended I experimented, for the first time in a life-drawing class with acrylic paint and acrylic inks, together with some soft pastel as I worked up an initial pencil drawing. Here I am using colour tonally, which is a subject I will be pursuing in the coming months.
Finally, on Day 2, a pastel drawing on beige newsprint which had previously been treated with clear gesso. Here, at last, I feel I captured Joanne's character.
So I was prepared to go in with a very positive attitude and do some very bold drawings using my newly acquired acrylics. However, I was completely thrown by the model. Joanne was tall and slim, and her elongated form presented a challenge which was very new to me. As a result my drawings were somewhat tentative as I battled to become familiar with the slender elegance before me. Throughout my six drawings on Day 1 I struggled to capture her elongated form (the longest and most elongated I had come across).
Then, on Day 2 I seemed to come to terms with the issues presented by Joanne and re-engaged myself with some of my current and evolving life-drawing issues. In the next drawing I engage with 'hard and lost edges', and 'the technique of charcoal on gesso treated paper'. As you will observe, she is sitting against a mirror, which I only took into account towards the end of the drawing which helped introduce a dark tone to contrast with the lighter right shoulder although the right shoulder itself was not in highlight. Highlights were given emphasis with a white soft pastel.
Then, as I had originally intended I experimented, for the first time in a life-drawing class with acrylic paint and acrylic inks, together with some soft pastel as I worked up an initial pencil drawing. Here I am using colour tonally, which is a subject I will be pursuing in the coming months.
Finally, on Day 2, a pastel drawing on beige newsprint which had previously been treated with clear gesso. Here, at last, I feel I captured Joanne's character.
On my third day we had Glenda who I had drawn before. Much shorter than Joanne and quite muscly.
To start with two ten minute poses using a technical pen on smooth white cartridge paper drawn on the same sheet of paper. It is always a nervous time when doing two or three poses on the same sheet of paper. If one does not work then the sheet is ruined. However, looking back over my previous pairings or trilogies, they have been successful.
Then a seated pose, firstly in charcoal on a gesso treated cartridge paper, followed by a crude utilisation of acrylic paints applied with a palette knife and strips of card.
Finally, a pencil drawing in which I brought the reflected mirror image into the composition.
Then a seated pose, firstly in charcoal on a gesso treated cartridge paper, followed by a crude utilisation of acrylic paints applied with a palette knife and strips of card.
Finally, a pencil drawing in which I brought the reflected mirror image into the composition.
