Not too sure why? But just felt the need at this moment in my process to again bring in some tone, and coincidently the return of the fine-liner pen.
The resulting sequence of mark-making is the same in all five drawings: firstly a fine-liner pen in each hand quickly exploring the shapes I feel like including in the drawing; secondly with a big chunky charcoal stick in my dominant hand a light tonal embrace of the paper to identify the darker places, and rubbed over with a tissue; thirdly with a graphite pencil (6B's) in each hand emphasising the stronger lines; then a short softer charcoal stick in my dominant hand going in stronger to the darker places, and these then caressed with a finger; finally a few further 6B marks to crisp-up a few points of emphasis. This sequence of mark-making was consistently applied to each drawing.
Paul held each pose, up in the ropes, with occasional use of the plinth for 30 minutes, with me withdrawing from my mainly sub-conscious involvement after about 20minutes, then sitting and reflecting and perhaps adding a few dabs.
Further constants in my process are the 220gsm cartridge paper, portrait format,and I am seated at my easel a metre or so from the neared part of the model who is posing above my eye level.
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