My selective approach

Rather than include the full pose in a drawing I have regularly chosen to focus on part of the pose. Today this dominated my approach. But I have found that without the whole pose, to provide a context, it can be quite difficult to correctly scale different parts of the body: e.g. the hands can get too large compared with the head, etc.
What I am doing by being selective with that part of the pose I choose to draw, is that I am focusing on the aspect of the pose/model/anatomy which I find interesting and perhaps most importantly, that part which is arousing in me some kind of emotion. And this, to such an extent, that I then begin to draw how I am feeling about the pose/model/anatomy rather than just doing a drawing of the object in front of me. I have raised this issue in previous postings, but today it was very clear to me how I felt.

So, here below is the outcome of my five feelings. Each drawing is selective in which part of the pose is addressed. Lost or soft edges are used which help place emphasis on the journey through the composition. There is a change in the nature of mark-making from the first through to the last drawing. The first two are very intense. I was very intense. And quite exhausted by the concentrated effort required by myself to engage, through the drawing, with my feelings. Drawing four begins to change with less overall intensity of mark-making, with the feet being brought forward with heavier lines and some slight tonal work. The final drawing was fairly relaxed with a more flowing line.

All are drawn via my now natural way of  'a-pencil-in-both-hands'. All are on A1 cartridge paper. I rarely us an eraser, so the final drawing is a record of the making of the drawing.

A pose from two view points

For the first drawing I am standing at my easel, so looking down upon the upper parts of the model's legs, and attempting to capture the sweep of the pose from the feet, along the legs and taking in the tilt of the upper part of her body and shoulders. Her body is long, and I was really annoyed that her head left the paper.

For the second drawing I lowered my easel and sat as low as I could (but comfortably on a chair) in order to try and respond to length and height. I very consciously wanted to bring forward, and exaggerate the feet and lower legs, and then reduce the relative 'size' of the upper part of the body, and the head. But again, annoyingly, I underestimated the full length and height, and her head went off the paper.

Anticipating the sequence of arrival: attempts at a creative synthesis.

I enjoy the challenge I set myself when at the start of the session at Angela Palmer's life-drawing class she asks the model for three five minute poses, prior to the long pose for the rest of the session.
The model sets the agenda.
I include the three drawings on one A1 paper. I am beginning to be able to include options for myself by the placement of the first pose. When presented with the second pose a narrative emerges. When the third pose can be placed to create a relationship with the other two a 'designed composition' (more than often) appears.
Yesterday and last week are two such examples of a resulting 'pleasing' composition. Can you suggest the sequence of arrival of the three poses in each composition?

Four of Robin

If my mark-making is becoming lighter to the touch, with my exploratory lines becoming less intrusive, and I'm resisting heavy lines of frustration, then I need to find a better way to photograph my drawings. The quiet subtleties are not showing themselves. I will seek advice on this issue.

Today, Robin was amazing. Her 'extreme poses' generated a wealth of thanks from the artists, and a feeling that we are all so privaliged to be part of such an inspiring and creative studio. Robin, our model, creates!

This is not my studio

In fact, I do not have a studio.
I do life-drawing on Tuesdays and Thursdays, and occasionally on a Saturday. Plus a Summer School.
This is one of my sheds, in which I keep my chainsaws, my tools, my freezer, and all the things that keep the small-holding going.

I'll keep drawing as long as I am able

Someone was anticipating my future.
Can anyone come up with the author of this drawing?

I want to celebrate our models!

It's stating the obvious: Without a model life-drawing just can't take place.
Our models inspire, and from this point on it becomes a shared adventure.
I'm loving the journey.

Double-Model compositions

A special session due to Paul Fowler double booking models at 'Extreme Poses' at Pegasus Art in Stroud on April 2nd.
The compositions were such that I only really had time within the 30 minutes of each pose to get the basics down.

Drawing Jacqui on March 28th 2015

The Unexpected

Just got home from a great draw at Extreme Poses. Paul Fowler double booked models, so we had Robin the former dancer with Paul the ongoing gardener. They create so well together. Tomorrow I will photograph my drawings and post them. In the meantime  I am reflecting on the day by wandering around my small-holding and pausing to take the odd selfie.

The other weathered structure (behind me) is an old railway goods waggon which I bought in 1979, and is now used as a store.