Twenty double-model poses

On December 1st and 8th at 'extreme poses' in Stroud Paul Fowler gave the stage to two creative models. Three plinths of different heights were placed below the usual trapeze structure and this allowed a fascinating series of dialogues of stimulating poses.
The constants for me were: A1 paper in portrait format, 220gsm cartridge paper, two-handed drawing with graphite pencils. Each day I produced 10 drawings from ten 30 minute poses, 5 before lunch and 5 afterwards.

I post them more or less in the order they were created. If I had an intention then it was to explore the essence of what it is to have two models together, i.e. what is special about the double model pose?  Otherwise I recall being completely relaxed about the two days ahead. So much so that my first response was the opposite of my self-declared intention as I was attracted by the line of the two arms and breasts of one of the models.

Here is a summary of the processes of the two days:

(i) I explored a variety of mark-making techniques from my 'squiggle' (as in this first drawing) thro to my three stage linear approach, and then the 'flowing lines' of the last drawing.

(ii) I soon realised that two models together created an anatomical complexity which was often difficult to unravel, so much so that I did not have to enter my 'deconstruction of the pose before me' and then to 'reconstruct into something which reflected my feelings'.

(iii) Some quite abstract compositions resulted as I focussed on just a part of the dialogue between the two models. On occasions I introduced or superimposed another part of the pose into the composition, and this has resulted in me being unable to recall what I was thinking or doing at the time. When I can't recall the pose, or what I was feeling at the time, this confirms my belief that it is 'the process' which is all important to me (not the drawn outcome), it is 'Me, The Model and The Moment' that is the essence of my art.

(iv) There are some interesting contrasts between 'the dangling suspended body' and 'the body supported on a plinth'.

(v) Usual issues of 'relationship of the drawn pose to the edge of the paper', 'the spatial organisation within the pose and within the depth of the paper',  'exaggerated foreshortening', 'contrast in mark-making', etc., etc., are I believe all addressed in these 20 drawings.

Experiencing Africa through drawing.

During the four weeks of October, Sylvia and I celebrated our 50th Wedding Anniversary, by journeying in a truck across Southern Africa. We covered 3200 miles, with numerous additional safari trips. Deserts, mountains, canyons and vast saltpans presented flora, fauna and landscape experiences which Sylvia recorded with her camera.
I had with me an A5 sketch book and some fine-liner pens. I wanted to put into practice the philosophy of Frederick Franck whose book 'Zen Seeing, Zen Drawing' which is all about how drawing can help one go beyond what one is looking at. Drawing can help you to see what you are looking at to the point at which the experience you are having enters the drawing. Feeling or emotion enters into the process of looking and making marks on the paper.
Of course, as an architect I have always drawn, but carrying a sketch book was a rare occurance after my days of student travelling to visit Europe's great architecture. But now my recent life-drawing journey has given me a confidence to 'draw in public', and Franck's writings are convincing evidence that the process of drawing helps one engage so much more with the world around us. He also shows that drawings can be simple, a few lines, perhaps a touch of tonal work. Not much is needed to help one see.

Frederick Franck, 'Zen Seeing, Zen Drawing: meditation in action'.  Bantem Books, 1993. Also author of 'The Zen of Seeing'

Experiencing Africa through drawing: 8

In an earlier posting I refer to my drawings responding to 'gesture'. It was rare to find myself in a position where an animal posed still for me. The quick mark-making, recalling the moment, was nearly always the case. It soon became clear to me that each page of my sketch book would hold only a few lines. It soon became clear to me that it was gesture and movement I would be seeing in my drawings.
My experience in drawing these flamingoes was typical. It was not possible to look at 'the model', then do some drawing, then look at the model again, then do some more drawing, etc., etc., because on the second look, however quick, the model had changed position. What I in fact I found myself doing was holding my A5 sketch book in my left hand, raised to my eye level, so that I could simultaneously see the subject and my paper, and then with my fine-liner pen in my right hand do some quick drawing. Obviously, the eye did move back and forth but very speedily. But this is probably just like it is with me when I life-draw.

Experiencing Africa through drawing: 7

From the Victoria Falls in Zimbabwe, we crossed Botswana then down through Namibia where we touched the waters of the South Atlantic. Here a boat trip to see the dolphins. But no dolphins this time we were quite content with this sight of a seal colony. Seals also hurled themselves on to the boat and sat alongside the pelicans sitting on the boat rails all of which were quite used to being supplied with fish by the crew as a reward for their performances.
Inland, my sketch book holds a record of many experiences I found fascinating. Here is the nest of the sparrow weaver bird, which has two entrances so that a quick escape can be made from an enemy entering through the other one. A tree will have many of these, and from a distance they give the appearance of large hairy fruit to start with.

Experiencing Africa through drawing: 6

We had organised for us to meet with a group of San people in the Kalahari desert. We walked with them looking at animal footprints and digging for medicinal plant roots. The group consisted two mothers with babies, two elderly women, and two young men.

Experiencing Africa through drawing: 5

In the Okavanga Delta in Botswana we left the truck for a few days and travelled for about two hours by mokorow to a tented camp. The villagers with their poles, like a punt, quietly steered us through reeds along channels carved by hippos. Mokorows used to be carved from whole tree trunks but now most are made of fibreglass.
In the camp (no electricity, no air-con, etc.) each tent had a screened extension in which a deep hole in the ground had a seat placed over it and also a tripod structure to support a bucket shower. It was whilst I pulled the leaver and allowed a few droplets of cold water to fall on to my upturned face while I was being challenged by the scorching sun (it was at least 42 degrees C) that I experienced a 'Thoreauesque' moment (you will recall the American transcendentalist who built a hut on the edge of Walden Pond in order to experience a divorce from western materialstic life). There was I, totally by myself, under the blazing sun, in a naked natural state, with the source of all life cooling my body, surrounded by wilderness, looking up into a huge space somewhere in this vast openess which is Africa. It was a magical feeling.

Experiencing Africa through drawing: 4

Our group of 16 travelled 3200 miles in this truck. Here we have stopped for a 'bushy-bushy' on a mountain pass in Namibia (ladies to the left, men to the right). Also in Namibia in the Namib-Naukluft National Park we climbed the world's largest dunes up to 1000 feet high.

Experiencing Africa through drawing: 3

These oryx gathered round and stared at me. They seemed inquisitive about my apparently unusual if not rare behaviour. Perhaps they were more used to the click of a camera.
We did in fact eat many local dishes including oryx, also eland and impala, which are all antelope type animals. I was quite happy with this as these particular oryx were bred for such purpose.

Experiencing Africa through drawing: 2

A few weeks ago I indicated that I would be posting some of my drawings from my Africa sketch book. I suppose the main difference between drawing the life model to drawing animals in the wild is that animals are constantly on the move. The one common aspect which I soon became aware of is the importance of responding to, and capturing 'gesture'. These observations apply equally to elephants as to the other fauna which will be seen in my other drawings.