More of Helen from March 12th

'the layered drawing described in the previous posting showing the addition of the orange pastel'

'Looking further than one normally sees'

I have been trying on occasions to slow down the process of drawing and to spend more time looking and more time thinking both before I start drawing and during the drawing process itself. The approach to this drawing was designed to help.

It is always more challenging to crop a pose with some of the figure going beyond the edges of the paper. Without the whole pose on the paper one loses the context of the part remaining and sometimes the proportions and scale become contorted.

Here I have split the pose with her left side bounded by an imaginary diagonal across the paper, anf her right side against an imaginary vertical line. I certainly found myslef looking, and looking, and looking beyond and deeper than usual levels.

In adding tone to areas of overlap it was the drawing itslef which required extra scrutiny to decide which to shade. My decisions resulted in the right hand (vertical) drawing becoming dominant. However an ambiguity was introduced as the lower left leg of the diagonal figure received a heavier treatment so relating it to the vertical figure above. 

Drawing Penny on 22/03/2011

Penny put on a white silk slip for the 'quickies'.

Then she assumed the main pose for the day. A real 'perspective' challenge!

Firstly, I eased myself into the pose with a pencil drawing.

Then, on an A1 smooth white cartridge paper I took up an HB pencil, and then toned the drawing with graphite powder applied with a brush and then the finger. Highlights were introduced with an eraser.

Then, for the first time, I used charcoal on a previously prepared sheet of A1 cartridge paper to which I had applied a minimal application of clear gesso. For some time I felt that I had wanted to experience a surface which would hold charcoal much more than a medium weight cartridge paper. So here are my first two attempts. The 'experience' was quite amazing!

After quickly outlining the basic form with an H pencil, I vigorously went in with a thick charcoal stick to block in the areas of darkest tone. These were then brushed back with a coarse dry paint brush. I re-emphasised these same dark tone areas and then added the next layer of slightly lighter toned areas. These were all brushed back into the 'grain' of the gesso treated paper. I added a further layer to the darker toned areas and finished off by introducing some lines and marks with a charcoal pencil. [click on the image to see a close up of the marks and the texture of the drawing]

Tomorrow (Thursday March 24th) at 'Extreme Poses' I will really push this technique and see how my tutor Paul Fowler will respond (at my last session at Extreme Poses, he and I briefly discussed this approach, and now I have an initial experience to take forward and build upon).

For this last drawing (below) I again used a clear gesso treated cartridge paper but this time it was one of my very smooth, very white, papers. I did not rub back any of the marks, so all the charcoal marks you see are as they were made first time. I also introduced some pencil hatching which I feel is a worthwhile addition to the range of marks and adds to the character of the drawing.

In comparing these approaches I feel that the above drawing exhibits a much more sculptural and rounded feel to the human form, and that the second drawing is so much more 'flatter and lifeless'. I wonder what you think?

Three lovely days of life-drawing!

I have enjoyed the last three days of life-drawing.
I felt an excitement whilst journeying to each session.
I don't go with a plan, anymore!
I have my bag of pencils, charcoals, pastels, erasers and pieces of kitchen roll, brushes and tissue paper.
Each day I have responded to what is before me.

Here is Penny, with hands on hips: a 10 minute charcoal pencil on cartridge paper.

Penny then reclined for the main pose of the day. Over the next two hours I explored the pose. Firstly, with charcoal on A1 cartridge paper for two drawings, and then for the third drawing I used a 'tinted charcoal pencil together with a soft sepia pastel stick'. This worked really well, as I also introduced a little cross-hatching with the tinted charcoal pencil.

After lunch Penny stood with her right knee on a stool draped with a cloth. Firstly I did a quick 'familiarisation sketch' with charcoal. I concluded her head was incorrectly aligned with her torsoe.This next drawing is the result of a number of 'blocks of tone' being emphasised with charcoal layers which have been rubbed back into the paper with a kitchen roll. Highlights were then emphasised with the use of an eraser. I like the result very much!

On the second day we engaged with Gladys again. Firstly, some ten minute poses. The standing and curled poses together use tinted charcoal and pastel

The next uses charcoal on a smooth surfaced cartridge paper.

Then a much longer drawing, and returning to the pose from last week. My touches to the head seemed to work well, so I have enlarged this part of the drawing below in order to get a good look at it.

For the last hour of the day I decided on a change and moved across the studio to study the back of Gladys. This is the result of four or five layers of charcoal markings, and blocks of dark tone, which have each been rubbed back into the paper with a stiff piece of kitchen-roll. Highlights have been introduced with a white pastel stick in turn blended in with a caress of the finger.

On the third day I was at 'Extreme Poses' in Stroud with tutor Paul Fowler. He has an extraordinary skill of being able to engage with, and understand, the path one is journeying along. His analysis, guidance, suggestions and touches of encouragement, are (always) spot-on! Today, we were able to come together in our descriptions of the path I was developing in my drawing.

I am not going to attempt a commentary of the dialogue which took place between us, except to say I was lifted, fullfilled, given confidence, and came away exhausted from the experience of the steps I had taken along the path of my life-drawing journey.

So here is what I did today.

Firstly, a ten minute warm up drawing in charcoal, on A1 cartridge paper, rubbed back a number of times with a brush and tissue.
Then, three charcoal on A1 cartridge paper drawings, each about 30 minutes, with the first one having some dark tonal emphasis with a dark brown pastel stick.

Finally I used a sheet of very 'smooth' A1 cartridge paper which allowed the charcoal stick, used on its edge, to skim across the surface to produce a series of fine lines. I felt that this drawing brought together much that had been experienced over the past few days.

Drawing Natalie on 07/10/2010

I am now paying a regular visit to Paul Fowler's 'Extreme Poses' at Pegasus Arts in Stroud. I'm being joined in the travelling by Angela Palmer who runs the Tuesday Brockweir classes in the Wye Valley. So, we can share the petrol costs, and also the toll charge as we enter back into Wales, from England, across the old Severn Estuary and River Wye Bridges.
I am so pleased that the model Natalie seems to have taken up residence in Paul's studio as she is a most amazing model. She can handle the challenges of being suspended by ropes; she holds her pose with almost imperceptible movements for the full duration, usually 30 minutes but sometimes upwards of 40 minutes; she has a fascinating body in which her skeletal framework presents a diversity of forms, shapes and tonal variations. Her personality issues forth and she engages in a most friendly manner with all those attending the class. Therefore, we all want to draw her, and we all want to draw her well!
The seven drawings below are in the sequence they were drawn throughout the morning and afternoon sessions (in addition, and not posted, were a few A4 sketch book drawings in pencil).

Drawing 1: A2 charcoal on cartridge paper (two or three layers of charcoal drawing each painted-back with a brush until the final form was realised). Drawing 2: A2 charcoal on cartridge paper (see also note above re Drawing 1).

Drawing 3: A2 charcoal on cartridge paper (two previous drawings were pursued in an attempt to understand and grasp the essential characteristics of the advancing left arm).

Drawing 4: When immersed in charcoal for some time I feel a compulsion to engage with colour. So for this pose, before the lunch break, I attempted to capture the leaning forward. A2 toned paper.

Drawings 5 & 6: After lunch which was spent eating our sandwiches sitting by the water, and in the hot 'Indian Summer sun', I found it difficult to continue the path which I had been treading earlier in the day. Two drawings, which I feel do not seem to have a particular outcome, were pursued with equal passion and engagement as any others. So, here they are, and as time passes in future upon reflection there will be lessons to learn. But for now, I am simply posting them! Both are A1 charcoal on cartridge paper.

Drawing 7: This was a challenging pose! A framework comprising arms and hands engulfed the recess of the upper torso. The feet were advanced forward to within the same plane as the hands. I tried to take forward and retain the initial and raw marks of the charcoal throughout the drawing but unfortunately reverted to my 'finger-smudging' technique around the face and above the breasts. I like the composition and the advancing hands and feet. A1 charcoal on cartridge.

Drawing Marcia on 22/04/2010

I am continuing my re-engagement with charcoal. It is such an easy, free and flowing medium allowing a diversity of marks to be utilised and one can embrace contrasting glances of subtleness with attacks of energy and rigour. My first three ten minute drawings each focused on capturing the pose and particularly the angle of the head. However, together they do illustrate the above point. [each is 60cm x 40cm on cartridge] After lunch three more quickies to help the wine go down.

Then the main pose of the day. As on 20/04/2010 the challenge was in the perspective. A similar pose, looking from the head down the body but this time I was closer and the head was not raised as high on a pillow. I did two quickies, on A2, to become familiar with the pose and its issues of perspective and proportion and then embarked, with confidence on a sheet of A1 cartridge. And I am very pleased with the outcome, accepting that the size of the right hand is somewhat exaggerated. Again, combinations of finger, tissue and eraser help extend the vocabulary of marks made with charcoal.

Drawing Dorothy on 25/03/10

I seem to be back enjoying charcoal again! So, above are the eight 10/20 minute drawings completed throughout the day. Below, I will comment on some of them.

These two I really like. I feel I have captured the poise of the model in each pose. I am particularly pleased with the way I have drawn the heads/faces: above, the suggestion of the highlight on the cheek and jaw, and below the calmness and serenity of the expression and the relaxed angle of the head. In the past I have had a tendency to avoid the head and particularly any attempt to capture a facial expression.

In the two drawings below I am experimenting with marks. Just how can the charcoal be applied to the paper to exploit and capture the forms and tones of the body in a fairly bold and explicit way. Also, how can the energy of the artist's activity that abounds in the process of engaging with the human form be expressed in the drawing itself.

Then I did two studies of the back of the model. Whilst again being interested in the marks on the paper I suppose a principal pre-occupation from this angle is to capture the subtle twisting of the spine and how different parts of the body orchestrate themsleves along this central structural channel.

At the end of the day I felt a need to get into colour. This is an A1 pastel drawing which started with a selected set of yellow, orange, reds and browns. I added a touch of light blues with a little light green. Finally, and very quickly, I energetically emphasised the deep dark tones with a 'black' pastel used on its edge. This was indeed done very quickly and instantly transformed the drawing