Basically, it is 'front and back'

Or, one side and then the other.
But I would like to have a more eloquent name for this approach to engaging with a pose.
In the making of these drawings I move back and forth, a number of times, from one side of the model to the other. It needs a large studio not to interfere with or annoy the other artists. But, no one seems to notice, as everyone is always fully engrossed in their own work.

After a two week absence, what do you expect, a revolution?

A radical innovatory move, perhaps too much to expect. But I did go to life-drawing today with a feeling for something different. In fact there was. A new model, Sarah. We did meet, briefly, some months ago when she called in to a life-drawing day at Arts Alive to enquire with Tony Tribe about life-modelling. So here today, at Angela Palmer's class in Brockweir, a new model. Yet, immediately, I felt a connection. There was no sense that it was going to take time to become aware of the personality of the model, no feeling that it was going to take a few sessions to relate to her qualities. It was as though I had drawn Sarah before.
So what is the outcome? On the face of it, not much different to past weeks. There is the usual four 5 minute quickies, juxtaposed on a single A1 sheet of cartridge paper, using graphite pencils, and with most marks drawn with both hands simultaneously. Then two selected studies from slightly different positions, placing an emphasis on line contrast. For the fourth drawing, lasting probably about one hour, I deliberately morphed together half the pose from one side with half the pose from a location on the opposite side of the model. In making this drawing I moved my easel back and forth across the studio about three times. I am intrigued by this morphing process, as the synthesis of the two halves together with the awareness of the potential for transforming the two bodies into a new and challenging being takes time to emerge. I enjoy and find stimulation from this period of uncertainty, and awaite the outcome with relish.

An enjoyable mark-making outcome

Occasionally I surprise myself when I examine a drawing after the process of making it is over. This can be almost immediately, or the realisation something special has taken place may take some time when a drawing is returned to. The quality I am enjoying here is to do with diversity and contrasting weight of line, together with the quantities of each weight of line.

Mannequins take the place of our life models for the day.

This is at Prema Arts in Uley in Gloucestershire where Paul Fowler set up a workshop for us to respond to four mannequins which have inspired him to produce  a series of oustanding paintings. They were originally in the studio of George Weissbort and following his death were passed on to Paul. A visitor to a renaissance studio or the studio of Courbet, Degas or Gainsborough, might havewitnessed a lay figure, i.e. a mannequin, in use to help rehearse composition, the fall of light and the painting of the drapery and clothing when the sitter was absent. Paul is currently researching the origin of these four mannequins, which are French and likely to be early 19thC or older.
Paul left us free to respond how we liked and joined in during the day the path we were taking. I began by attempting to explore some of the approaches I have been following over recent weeks. To start with the mannequins were located, in standing poses, individually around the large studio space, then at lunch time were grouped as in the photogragh with heads added.
I have been challenged to reflect on my art in a different way. Attention to anatomical detail was not there which released me to respond to other aspects. I have explored some of the differences in my hand written note book.

Some quick responses to Natalie on March 30th

A great pleasure to have Natalie back at Paul Fowler's 'extreme poses' up in the ropes, with me being fairly selective in my approach to each drawing.