Drawing Rachel on March 27th 2014

At Extreme Poses Paul Fowler has introduced a new element for the model. Beneath the hanging ropes a plinth, placed on the floor, allows the model to support the lower part of her body and then to project or cantilever herself out into space supported by the ropes from the ceiling.
This first session suggests poses are more challenging both for the model and the artist. Let's see how this evolves.

Drawing Abigail on February 25th 2014

To start with Abigail did four quick poses, about 5 to 7 minutes each.
Then on to the main pose which we will have again next Tuesday also.
However, today I attended for the morning only, and elected to spend my time on the one drawing. So I didn't rush, and concentrated on the composition, the journey for the beholder's along the diagonal, and on such issues as backgound tone alongside highlighted body and silhouet against a light background. How to include background is something I intend to address over the coming weeks.
Now, it is natural for me to draw with both hands, simultaneously and both contributing equally. It has become my natural way to draw.

Drawing Paul at EXTREME POSES on January 24th

No life-drawing on Tuesday as I spent the day digging ourselves out from the heavey snows of the last few days. So it was with great anticipation for a good draw that I battled my way in my Land Rover Discovery to meet up with Marianne and drive over into England and spend the morning at Extreme Poses. On the journey we talked enthusiastically about our current life-drawing experiences, with moments of silent reflection on our shared thoughts. This helped to place ourselves in a good 'state of mind' for the morning ahead of us.

Below are my 4 drawings from this morning's session. All are on A1 220gsm cartridge paper, drawn with my two-handed approach, using HB and 2B pencils and some additional charcoal which has been blended in with the finger.

'emphasising the strong diagonal of the pose, the advancing foot, and the depth between the legs'

' a rare inclusion of the ropes: the arm pit was hidden behind the knot of the ropes and as it was impossible to make-up what could not be seen I decided to include the ropes which in fact helped to explain the pose'

'a further approach to placing emphasis on part of the pose by the inclusion of lost-edges'

'this in fact was the first drawing of the session which attempted to explore a journey up through the pose: I was not very satisfied with the drawing but it did prove to lay the foundation for the above three pieces all of which I am pleased with'

Drawing Ocean on 23/11/2010

On a Tuesday I go all day to Angela Palmer's life-drawing class at Brockweir in the Wye Valley. Today I was all set to do the 20 minute drive over the hills when a phone call announced my new barn would be arriving on a lorry. It was supposed to come yesterday. So I stayed at home and we unloaded the lorry before lunchtime, but by the time we had stacked the components and covered them against the threatening snows it was late into the afternoon. By this time I was desperate for a draw. So I drove over and joined the evening class. One of my favourite models was there. We started with two ten minute poses and then I did two drawings of the pose which lasted all evening but from different positions in the studio. All are on A1 cartridge paper.

For the two quickies I used a medium charcoal pencil, firstly lightly exploring the basic forms and then emphasising with a heavier application of the charcoal. I did not intend to include the whole body and was pleased how the suggestion of the legs helped emphasise the upper part of the body where the main interest of the pose resided. Ocean then assumed the main pose of the evening which was meditative in character. In the first drawing I used a HB pencil to explore and map out the main pose forms which I then emphasised with a 3B pencil. I then used graphite dust with a brush to suggest the darker tone areas, with one or two additions of willow charcoal rubbed lightly with the finger to soften its impact.

For the third drawing of the evening I again used an HB pencil to start with but then I went straight in, fairly heavily, with a stick of willow charcoal to 'block-in' the dark toned areas. I then vigorously brushed away the charcoal but the cartridge paper had sufficient key to hold much of the charcoal whilst still allowing the pencil marks to show through. I then emphasised certain lines with my 3B pencil. A few selected dark tone points were then picked out to add another layer of contrast. A few highlights were cleared with an eraser.

Over the past few postings I hope that observer's will agree with me that a fairly distinctive technique has been emerging. One in which a combination of HB and 3B pencil together with the use of graphite powder, pencil charcoal and willow charcoal results in a form of drawing which has a certain transparency to it so that the history of the 'making-of-the-drawing' becomes an essential part of the final drawing itself.

I am pleased that the pencil has re-emerged in my life-drawing. In this I am making some connections with my life as an architect in which the role of the pencil played a significant part. I am also pleased to be taking a direction in the path of my life-drawing journey which is different to the energetic and colourful pastel phase of some months ago. But what fascinates me is how the learning gained from this pencil, graphite and charcoal phase will be taken into a future pastel phase and change and develop it (whenever it comes).