The above two drawings include parts of more than one pose. The process I follow is I select from the first pose the part which immediately attracts. I draw it. Then from the next pose I select the part which attracts and begin a process of relating in some way this and further parts to each other on the paper. There cannot be a final design, but I await the outcome with an anticipation that something greater than the sum of the parts will emerge.
And now one of those events which I love to explore: the model supports her head on her hand, her elbow on her knee, and all this weight is taken down her leg, with just a suggestion that she is seated. Another 30 minute pose at 'extreme poses' with Shelley on a plinth.
In these 6 postings of recent works I have a number of drawings of Eliza suspended in a twirling hoop. Again I am not seeing the hoop itself but concentrating on legs in the air, arms dangling down, and other parts, but this time adding quick tonal swathes with the finger of tinted charcoal to help differentiate the parts.
One morning, at 'extreme poses' I felt a degree of satisfaction, and mental exhaustion, from bringing together in three complex drawings multiple parts of the anatomies before us, with extensive use of overlap and transparency, and compositional complexity. So for the final two poses I appear to have reverted to a former approach in which the pose is not destructed, pulled apart, or recreated in a challenging format. Each process starts off with a 0.4mm fine-liner pen in both hands. Once the basic form is outlined then tinted charcoal is caressed across the paper with a tissue. This has a transparency allowing the initial ink lines to show through. Additional lines are added but mostly with my usual hand and some with a 1.2mm pen. Further tinted charcoal is rubbed in with the finger in the more deeply shadowed places.
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