Drawing Paul on 23/02/2012

Medical specialists finally pronounced me clear of any threat of cancer on February 20th. Today was my first life-drawing day after this amazing lifting of this threat which had preoccupied my consciousness for the past twelve months. How this concern had impacted upon me I just don't know. Friends at life-drawing classes had commented on my 'detachment' at times. Others had said I "Bob, you are not your usual self". Now, I can, with relief, tell them what has happened. It has been so good: I've got huge big hugs from everyone. 

So, lets get into life-drawing again. 

And here is what I did. 

We had Paul the model, high in the ropes at Extreme Poses.

In these few drawings there is continuity with the issues I have been addressing over the past few months. 

But I feel that in the coming weeks my life-drawing journey will set off along an unanticipated and unpredictable path. I cannot wait to experience what happens.

Drawing Robin on 14/02/2012

Here are my 8 drawings from the day at Angela Palmer's studio at Brockweir in the Wye Valley. 

A variety of 0.3mm fineliner pen, pencil and charcoal, charcoal on cartridge, and charcoal on clear gesso treated cartridge. All are A2 drawings, and are not posted in chronological order.

I really enjoyed the day. But it was a struggle. I am awaiting the outcome of a lengthy series of tests to ascertain whether I have prostrate cancer. I should know the answer in a day or so. In the meantime I have tried to immerse myself in my life drawing, in my hedge laying, in the work on my land, and when possible with my family including my six grandchildren. It's been amazingly difficult! It has become a very personal struggle. It is all within myself. There is little outward evidence of what is happening for other people to connect with. Yet, my life-drawing colleagues who know of my concerns have been wonderfully supportive. That is another reason for keeping on 'life-drawing'. 

What would I exhibit now?

In May, Angela Palmer will be putting on her annual exhibition of selected paintings and drawings by artists who attend her life class at Brockweir in the Wye Valley. It will take place at Taurus Crafts near Lydney. 

I have to select three pieces. 

So, how do I go about this? 

I want them to say something about where I am in my life-drawing journey, i.e. the issues I am addressing, the skills I am developing, and what gives me pleasure when I study that which I have produced.  

I have looked through my work over the past six months and here is my selection. I tried to keep it to three, but at the moment I have eight pieces to ponder over.

I feel the emerging over-riding issues, and hence my preoccupations, are to do with  'mark making' and 'gesture'. I would also add a degree of 'abstract expressionism', but this is less evident in these pieces.

They are not presented here in chronological order.

Fig 1

Fig 2

Fig 3

Fig 4

Fig 5

Fig 6

Fig 7

Fig 8

Drawing Angela on January 26th 2012

Just realised I missed posting my drawings of Angela at Paul Fowler's Extreme Poses studio in Stroud, which preceded the four days covered in my previous posting. 

Each pose is held for about 30 minutes and the session runs from 9.30 to 12.30 on a Thursday morning. 

So here they are without comment: except to say they are quite contorted poses, and my preference in terms of the fineliner pen technique is drawing number three.

Drawing Penny and Angela on 4 days at the end of January 2012

Life drawing on four different days came fairly close together at the end of January beginning of February. So I've simply posted them more or less in chronological order. I shall now go away and set up a slide show and attempt a reflection on what may have emerged in terms of technique development. I am particularly excited by my use of the 0.3mm fineliner pen. This is in contrast to the drawings I was doing at this time two years ago when I was in full-swing with colourfull pastel work. 

Currently I am exploring the opportunities and potential of the fineliner pen, and I feel it has a lot of mileage in it. But I find that after 3 or 4 drawings with using this pen I need a rest and a need to bring in some charcoal or pastel work [I have still not jumped into oils and acrylics as a principal medium].

Here is Penny, sitting on a stool, at Arts Alive in Crickhowel, Powys, on January 28th.

She then had a rest on a couch.

Whilst on the stool we did two quick 10 minute drawings.

Then on January 31st I was again with Penny at Angela Palmer's studio at Brockweir in the Wye Valley. She posed for two quickies leaning against a wall.

In the next two drawings I am using the pen in a very different way. Rather than using it as an exploratory tool, in which all lines remain as part of the 'construction' of the drawing, I am attempting to minimalise the marks on the paper and draw the form with the first or second line.

 

Then four drawings of a lying pose. Two in pencil, then two incorporating charcoal. I really did struggle with this pose, particularly the left arm. I tried to bring it forward and slightly exaggerate its dimensions so as to create perspective in the drawing. But the result was a rather masculine arm.
The other frustration was my failure to do justice to the model's amazing iconic bottom. Penny does possess an amazing bottom but I did not do justice to its form, its beauty, its shape. Throughout the history of female figurative art there are some wonderful bottoms: so I will keep trying!

On February 2nd I am drawing Angela at Paul Fowler's Extreme Poses in Stroud over the River Severn into England. And I am really pleased with the outcome using the 0.3mm fineliner pen. And I have introduced a significant change in my drawing. I am using A2 sized paper. This has allowed me to concentrate on the technique of mark making rather than concentrate on trying to fill the vastness of the space of an A1 sheet of paper. This is not the first time I have cut my A1's in half, but it is probably the first time I have become aware of the value and contribution that paper size can make to the process of life-drawing.  

And at the end of the morning I just had to have a change, and get out the charcoal, and power-in to the final pose.

On February 7th I was back with Penny at Angela Palmer's studio.
Firstly a standing pose. Penny was leaning slightly against a wall, and the issue of her weight being taken down her left leg had to be addressed. Being tall I was looking down upon her right shoulder, and the issue of perspective as I looked down her body towards her feet became a real challenge. These were addressed more successfully in the second drawing.

 For this third drawing my eye level was lowered as I took a rest by sitting down and lowering my easel. This is using a 8B pencil.

Then to finish this posting three different approaches.
Firstly, two 10 minute quickies using the fineliner pen.

Then a follow up to the earlier standing pose. Here I started with a thick stick of willow charcoal and punched in the seven or so blocks of dark tone (these were then isolated black marks on the paper).  I then reduced the impact of these blocks by brushing over them. I then picked up my fineliner and drew a few key lines to link these blocks together.  I then introduced a secondary layer of tone by finger rubbing charcoal to introduce some roundness to the forms. I then re-inforced the deep tonal blocks with the thick charcoal stick.  I must say I do love this drawing. There is a 'freshness' about it.

In the above drawing I am continuing a number of  basic drawing 'principles' or 'characteristics'  which have been emerging in my work and which I am feeling very happy with. These are:
a) the inclusion of both 'lost' or 'soft' and 'hard' edges
b) the creation of a 'route' or 'journey' through the drawing
c) the focus on 'mark-making'
I also feel that this is a drawing of an 'abstract-expressionist' as opposed to a 'representational realist'.


Then I had some more fun!