Extreme Poses with Robin on November 9th 2017

I like the playfulness of the first drawing, the entanglement in the second, the grand sweeping of limbs in the third, and the careful composition and complexity of the fourth drawing.

Drawing Andrea on November 7th 2017

After a time away from this venue it is good to be back at Angela Palmer's life-drawing class at Brockweir in the Wye Valley and with the amazing Andrea. I usually do the morning only but Andrea is such a fascinating and inspiring muse who challenges herself in her devotion to her art that I just had to stay for the afternoon session as well. I am glad I did.

Drawing Paul on November 2nd 2017

As with Robin on October 12th I am with the model Paul at Paul Fowler's 'extreme poses' in Stroud.

Drawing Penny on November 6th

I am at Claudia Peake's two hour Monday evening life-drawing session in Monmouth drawing Penny.

Drawing Robin on October 12th 2017

A full day with Robin. Some graphite pencils and some fine-liner pens. All 2handed to start with, on A1 220gsm cartridge psper.

October 12th at 'extreme poses'

I'm off to Sardinia in the morning so have not had time to photograph individually my drawings from this full day with our model Robin at Paul Fowler's 'extreme poses'. It was an interesting day. I started by drawing with two fine-liner pens, something I have not done for many months. For other drawings I used my usual graphite pencils. After some reflective thought I will post any observations with the drawings.

How can two Thursday mornings turn out so different?

Compared with my 5 drawings posted on September 28th under 'A muse's job' these 5 from yesterday are at the other end of the scale. Previously I was so pleased, not only with the outcomes, but more importantly with the qualities and nature of the processes I went through. But yesterday there was so much frustration, particularly noticeable in the final drawing in the uncaredfor hatching. I believe I understand what happened........the evening before I went through my drawings from the past few weeks, and made notes on the aspects I liked and therefore which aspects I might take forward (I may post these notes soon). But what this analytical and self-assesment exercise did was to place me as an objective critic of my art, and I have always believed that although it is essential to bring 'analysis' and 'creativity' together there are times when they should be kept well apart. From my experience my best work is done when I just go for it, responding to the moment, with no plan.