The tall lean figure of John triangulated himself into this attractive pose. I've always enjoyed triangulated poses and set about drawing him with no pre-conceptions or intentions except to enter the process ahead and to see what happens. The only conscious decision was where to position myself in relation to the pose in order to maximise my engagement with 'triangulation'.
A pencil in each hand, standing in front of an A1 sheet of cartridge paper, I moved my hands around in front of the paper to spatially map out the form which I wanted to fully include within the boundaries of the paper.
The head on hand was outlined followed by the long legs. The right elbow moved inwards and the left upper arm moved outwards during the making of the drawing. The scale/size of the dangling hand was critical.
In the second drawing I started with a block of tinted charcoal in my right hand and, because I was already familiar with the 'form', I fairly quickly placed on the paper the darker tonal areas, which I then sculpted and lightened with a piece of toilet tisue. A second layer of tonal treatment went in emphasising the darker tonal areas. These were then also lightened with the tissue. Picking up my two pencils lighter and darker lines built up the pose. Finally I went in with a piece of willow charcoal to take into the paper the deep dark tonal points.
For the third drawing I moved my easel position and the soft edge of his right side and similar treatment to his feet I expected to place the beholder's emphasis on the central parts of the pose particularly the advancing right elbow.
This was the short evening session at Angela Palmer's class at Brockwier in the Wye Valley.
No comments:
Post a Comment