Drawing Paul in July 2011

The Summer break is coming and here are a few of my drawings from the last two sessions (July 7th and 14th) at Extreme Poses with Paul the model suspended in the ropes high up in Paul Fowler's studio in Stroud. Unusual for me is the inclusion in my drawing of a suggestion of the ropes: I have included them in the 5th and 10th drawings as it seemed appropriate for the pose to include them.

Drawing Paul on 30/6/2011

At Extreme Poses the models are usually female but today and for the next two weeks we have Paul who proved to raise a fascinating issue which in general divided the work of the male and female artists. Most of the ladies responded to Paul's muscular feature's particularly his strong shoulders, arms and hands. They were mostly selective in the parts of the body they chose to draw often focusing on these upper body elements. In contrast the general view was that I had been sensitive to his female side and had brought out the flow within the overall pose, particularly in my third drawing. This was something I did quite unconsciously, but I do agree with this observation from my colleagues.

TOGETHER - Natalie and Angela on 23/06/2011

Followers of my 'life-drawing diary blog' will know that I attend life-drawing classes usually two times a week, and that's it. This is the extent of my artistic work. Most of the rest of my week is taken up with physical activities on my 14 acre small holding together with the upkeep and conservation work on our Iron Age Hillfort. So, a day at life drawing usually follows a few days of fairly heavy physical work and I wake up early, on a life-drawing day, with a tremendous feeling of excitement and anticipation. June 23rd was no exception.

But imagine the joy when arriving at Paul Fowler's studio at Pegasus Arts in Stroud to find that both Natalie and Angela had turned up to model for us, together. For four poses they were suspended within the matrix of trapeze ropes high in the studio. With Paul they created a number of challenging juxtapositions within which various symphonies of intertwined forms were presented for us to draw. It was an amazing three hours!

I produced five drawings, varying from 10 minutes to 30 minutes. The configuration and ambiance of each pose suggested to me a particular drawing medium. Basically pencil, but with some additional conte crayon in the second and third drawings.

Here they are, in the chronology of making.

Angela & Penny in early June

Firstly, a taster of what is to come.

This posting contains my 10 drawings of Angela from the two days at Paul Fowler's 'Extreme Poses' at Pegasus Arts in Stroud followed by my 6 drawings of Penny over two days at Angela Palmer's class at Brockweir in the Wye Valley. The time spent on each varies, resulting in some interesting comparisons within the two sets particularly in terms of 'tonal issues' and 'the nature and quality of line'. Then there is the contrasting poses: Angela is suspended, in a variety of different poses, within a matrix of ropes, whereas Penny assumes the one lying pose on a mattress.

PART ONE - Angela

For Angela's poses above I remained in the same place in the studio whereas for Penny below I was able to vary my location.

PART TWO - Penny

In addition to the above we usually include some 10 minute 'warm-up' drawings which I now do in an A4 sketch book and these will be the subject of a posting at some date in the future.

Drawing Michelle on 31/05/2011

My previous post ' What is the difference between Tuesday and Thursday?' has two drawings of seated Michelle wearing a head scarf done on Tuesday May 24th. As I liked the pose I decided to keep with it for the following Tuesday but positioned myself slightly to my left in relation to the model.

Rarely at Brockweir do I spend more than about two hours on a drawing and often I can end the day with up to six A1 drawings plus the usual six 10 minute quickies. However, today I worked on the one A1 pencil drawing on a smooth very white cartridge paper. This was quite a new experience and the experimentation with pencil was very rewarding.

I started with an HB, then built the drawing with layers of 2B followed by 6B and finally some 9B to punch in the deep tones.

I am very satisfied with the outcome!

I feel it scores well in the following:

(i) the composition on the paper

(ii) the scale and proportion of parts to the whole

(iii) the structural organisation of the pose

(iv) the sculptural quality given to the body

(v) tonal contrast and variation

(vi) the play of hard and lost edges

(vii) the marks made in constructing the drawing are still in evidence

(viii) a number of aspects are successfully dealt with, e.g. the foreshortened right thigh contrasting with the extended left thigh and leg.

DON'T FORGET - click on the image to enlarge, then click again to zoom in to see the mark-making.

What is the difference between Tuesday and Thursday?

Well, what is the difference? At the mundane level of 'time' it is about 48 hours. In life-drawing 'experience' the contrast could not be greater.

On Tuesday we are at Angela Palmer's life-drawing class at Brockweir in the Wye valley on the border between Wales and England. Here poses follow a classical format with the model following variations within the standing, sitting or lying positions. The main pose is held for two consecutive Tuesdays which allows oil painters and sculptors to work on a piece for up to 10 hours.

The first two drawings of Michelle on May 24th engage with the principal issue of 'gravity', i.e. the load and weight being transferred downwards: the body sits on the podium, the right leg is pushed up supported on a cushion and taking the weight from the arm resting on the thigh, the right shoulder is relaxed and lower than the left shoulder, the head droops.

NOW, CONTRAST THIS WITH THE NEXT SET OF FOUR DRAWINGS.

On Thursdays we are at Paul Fowler's Extreme Poses life-drawing class at Pegasus Arts in Stroud, England. Here the model climbs up into a matrix of ropes which are fixed to beams in the ceiling. Sitting or lying poses are possible but unusual and challenging formations are more frequent as the body is suspended at about (or above) eye level in the centre of the studio

Posted are drawings which for me illustrate a principal and significant difference in the life-drawing experience between these two venues: 'gravity' and 'suspension'.

Our model is Natalie at Extreme Poses on May 26th. Each pose can be held for about 30 minutes only. So in the 3 hour session we have four poses plus one or two 10 minute quickies.

Please study the drawings and decide what different issues are presented to the artist and what the difference is in the life-drawing experience between the two classes.

5 sessions in early May 2011

I thought I might try something different in the way I post my work in this 'diary'. So here is most of the output from five life-drawing sessions from May 5th to May 19th in chronological order. Missing are most of my quick 5 or 10 minute 'warm-up' drawings which I am now doing in an A4 sketch book. This sketch book approach is a new venture for me and I am enjoying the small drawing which contrasts with my usual A1 approach.

On May 5th we had Angela suspended in the ropes at Extreme Poses.

Below are two drawings on A2 cartridge paper which has been treated with clear gesso to give a bite for the charcoal and conte crayon.

I then play with the orientation of the drawing and discover that the figure dances.

On May 10th the model was Gladys.

Firstly three 10 minute A1 drawings using charcoal and pastel.

I then moved close to the model for two drawings in which I am challenging myself with a perspective looking down upon her head and shoulders.

On May 12 we are again at Extreme Poses with Natalie for the early part of the session followed by Paul a new model for me.

The first drawing is a 10 minute study in tinted charcoal pencil on A1 cartridge.

The next is a 30 minute pose in pencil.

Then a 30 minute drawing, which I am really pleased with, in tinted charcoal pencil on A1 cartridge paper.

Then over to the new male model. A quickie to start with.

Then again using a tinted charcoal pencil I drew this pose which appears to be a classic seated 'thinking' pose but the model is in fact suspended within a matrix of ropes suspended from the beams of the studio.

Here I am attempting to create a focus for the beholder by placing emphasis on parts of the body from the left foot up to the right arm and left hand and then to the head. By contrast the curve of the back becomes a 'lost-edge' as do the hair and the toes of the right foot.

On May 17th the model was Gladys who is originally from Nigeria. I struggled with this first drawing but became interested in the technique of using a tinted charcoal pencil and rubbing back the drawing a number of times so bringing out the tonal variation.

I again took up the challenge of moving closer to the model thereby looking down upon her head and shoulder. This is an A1 drawing using willow charcoal on a slightly textured cartridge paper.

Then from a slightly different position and using willow charcoal and black compressed charcoal on a smooth A1 cartridge paper.

On May 19th Natalie was our model at Extreme Poses.

Firstly a 10 minute warm up. A1 cartridge in pencil.

Tinted charcoal pencil on A1 cartridge.

The following is a pencil drawing on A1 smooth very white cartridge paper with a touch of graphite powder applied with the finger to suggest the darker tones. This was a complex presentation of arms and legs and I was fascinated by the way each part of the body had another part behind it.

After the previous three quite difficult poses for which I had to really struggle in my search for a set of lines and marks to 'more-or-less' capture the gesture and more-or-less present the correct proportions I felt I needed a much bolder attack so I heavily used willow charcoal and rubbed each series of marks back into the paper a number of times.

Finally another pencil drawing with added emphasis from a light brown conte pencil