5 in 1: Nos 3 .........September 19th 2013

 Some thoughts here about clearly separating each contribution by including a distinct line rather than organically juxtaposing (inter-penetrating) parts of different poses. The verdict is out on this issue for the time-being, although I do prefer an emphasis on 'flow and continuity' between parts, and on a suggestion of 'ambiguity' which comes from not being sure which bit belongs to which pose.

Also I am beginning to sense a pleasure when the final drawing begins to take on a form of its own. In other words when 'the whole becomes greater than the sum of its parts'. I think we may begin to sense this in future pieces.

 

 

In these 5in1's I am drawing with a pencil in each hand and concentrating on both making an equal contribution in the making of the drawing. 

5 in 1: Nos 2 .........September 12th 2013

This drawing interests me in a number of ways:

a) it is made from five poses which range from a whole figure (the first drawing) right down to a small selected part i.e.  the left side of her face which I have placed to coincide with her left buttock.

b) it holds 'ambiguity': in this case the head at the top of the drawing can be interpreted to belong to two both the full 'outlined' pose and the figure leaning forward.

c) one selected part (the breast, tummy, upper thigh and hand, which surround a sort of cave like void and which gives a depth where least expected) are firmly located within the thigh outline of the first pose.

d) as a composition, one's eye is constantly encouraged into the drawing, and not lead to the edges of the paper. This is the opposite to the drawing in the previous posting '5 in 1: Nos 2'  

 

5 in 1: Nos 1 ..... September 5th 2013

This is the first of six sessions at Extreme Poses during which I am aiming to explore juxtaposing the five morning, half-hour poses in one drawing.
The first selected part of the first pose is in the top left (breasts, right  shoulder and indication of left side ribs). The fifth and final contribution is the single line pose which is designed to perhaps help relate the organic parts to each other, to anchor the first four contributions to the edges of the paper, and to include a single line drawing which helps bring out the more organic, exploratory squiggle line.
This is a two-handed drawing with a fin-liner pen in each hand. So no erasing is possible.