Sue on November 26th: Part One

Here are the three 10 minute poses at the start of the morning session in Brockweir in the Wye Valley. The first two are standing poses and I am pleased to have inadvertandly introduced an element of ambiguity with respect to her left arms. Are the two figures entering into a slight embrace?

What happens when the model does not turn up?

In 7 years of life drawing this has happened only once before.
Today our tutor, artist and art historian Tony Tribe, posed for10 minutes in the hope that the model would arrive eventually, but late. She didn't arrive at all, so the day was abandoned.
It may appear that he is being crucified for the misdemeanour. In fact he is leaning against a radiator, and after a short time experienced some discomfort tohis hands from the extreme heat. I am reminded that models frequently have to put up with challenging poses and conditions. Usually, it is at the other end of the thermal scale.
Thanks Tony!

Drawing parts of Paul on November 21st 2013

This two-handed, two 2B pencil drawing on A1 220gsm cartridge paper, is composed of selected parts of the model Paul from the five 30 minute poses on Thursday morning at Extreme Poses at Pegasus Art in Stroud. Locating the model up in the ropes is the brainchild of our tutor, Paul Fowler.

As I journeyed through compiling this composition it became clear to me that my mark-making was different in each part, and changed through the morning. I started with the hanging arm on the right, then the two feet on the lower left. These were followed by the centrally placed knee and foot. Later I deliberatly emphasised the emerging catalogue of my personal mark-makings by finishing with my much more intence and tonal approach with the hand and the two feet at the top.

'head to head'

Two cropped details which emphasise my contrasting mark-making and indicate the potential of juxtaposing one pose within another.

Theme: 'bodies within bodies'

Here are three drawings in which I have looked at the model from two locations, and my assumption is that I am gaining a fuller understanding of the model and thereby increasing my chances of 'drawing my feelings' rather than drawing an object. All three are created with my two-handed 'exploratory'approach to drawing, and I am deliberatly emphasising the two contrasting mark-making methods.

More faces of Chika

The evening of November 19th 2013 and Chika has returned to Angela Palmer's class at Brockweir in the Wye Valley.

Drawing Abigail on November 19th 2013

Drawing Robin & Damaris together on November 14th 2013

Abigail meets Abigail meets Abigail

Firstly two ten minute poses then into the main pose which I started at the eye in an attempt to create a narrative about their relationship. Their eye contact certainly suggests one to me. What do you think?

The whole drawing is made by using both hands and I am making a clear distinction between the two mark-making approaches. In the more linear approach the two pencils search almost independently of each other for the form of the body. In the more tonal squiggle approach the two pencils work very closely together.

All my drawing is now two-handed. It's becoming quite natural to me.   

 

 

 

 

 

Portraits of Chika

This is probably the first time I have entered the world of portraiture. I didn't approach it any differently. Then why should I? 

Chika is from Japan.

 

 

 

 

 

Three recent significant drawings

Drawing Liv on November 9th & 10th 2013

Drawing Paul on November 7th 2013

Drawing Martin on November 5th 2013

Just found a friend

My Synthesis of Damaris and Paul see 'Life drawing: August 13-15' placed alongside a piece from Asgar Carlsen whose work I have just come across.