Part 4 – Project 4 – Exercise 2 – Three Figure Drawings

Lounging Figure

Project 4 exercise 2 lounging sketch1

Firstly I was thinking of using different materials and ways of depicting the figures.   This first study I wanted to use charcoal and rub back but unfortunately the paper was resistant and peeled away.

project 4 exercise 2 lounging sketch 3

Then tried brown paper from shopping carrier bags with chalks and conte sticks.   This is helpful in building up a better depiction of the figure.

project 4 exercise 2 lounging sketch 2

Finally used a combination of both on a watercolour paper.  Maybe would have worked better with a wet medium first and then working on top.

Lounging Figure longer piece

So for the final piece I went back to the carrier bag brown paper and different chalks and conte sticks.   Partly successful in terms of depicting the weight of the figure on the floor. I think I am still hesitant in getting enough distinction with the tones across the figure.

Standing Figure

Project 4 Exercise 2 standing sketch 1

Wanted to go for a completely different approach with this pose.   Using the not looking blind drawing initially and then building up with different materials.

project 4 exercise 2 standing sketch 2

project 4 exercise 2 standing sketch 3

I like the initial image best.   It has more character and its abstraction works for the pose.

project 4 exercise 2 standing sketch 4

In line with spending longer on the final image and using a different material I used red biro with a continuous drawing kind of technique. Very ambiguous about this.   Not successful.

Standing Figure - Auerbach

Went for the Auerbach technique. It is not that accurate but structurally it is more interesting than the biro drawing.

Seated Figure

SEated Figure - Degas

My final pose and technique was thinking about Degas and the drawing I had previously made of the standing figure. So this is water soluble crayons on pastel paper. I have endeavoured to be freer with the mark making.  This is a bit of a hybrid in that the form is there, the pose is there but something is missing.

Conclusions

The anatomy studies are definitely adding to the drawings by my growing awareness of the structures beneath the form.  However I am feeling driven by trying to achieve so much in such a short period of time.

I have been going to regular life classes but you can’t always get the poses and timings that suit the course exercises. I’m finding that my accuracy changes from week to week and depending on the model what I am trying to achieve.

Recently I was trying to create a large study of a naked lady in a long pose class and had clearly chosen the wrong materials and wrong angle to achieve an interesting outcome.   Going to take a step back and think more about the composition before I start and the possibilities of the materials being used.

 

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Part 4 – Project 3 – Form – Exercise 2 – Essential Elements

2 seated 10 minute clothed

 

seated 10 minute clothed

These first two sketches the model was clothed as the proper model failed to turn up. So our tutor sat for us.   I really enjoyed depicting the clothes which helped to find the form and weight of the figure. These were 10 minute sketches.

10 minuted seated leaning

 

standing 10 minutes

 

seated 10 minute nude

Then one of the class agreed to sit for us in his underwear.   He was a good model and I tried the technique of going as slowly as possible building the form and the tone simultaneously.

seated 40 minutes

This last pose was longer – 40 minutes and I got a bit lost.   Firstly the proportions got out of focus so that I felt I was too far on and did not adjust them sufficiently. However I did work more on building up the tonal areas in different ways and with different colours – all conte, chalk and pencil detail. The fact that the sofa is more there helps him look more seated. The study of the upper torso is pleasing.  And the legs but somehow the middle is too extended.

Need to stand back and check proportions early in the pose. Different materials adds to the complexity of the image.

 

 

Part 4 – Project 2 – Exercise 2 – Longer Study

30 minute sketch seated

With this drawing I was trying to spend longer on developing the detail but I am not sure that I have achieved a lot more than the shorter studies.   I feel that it is overworked in some areas and underworked in others.    Proportions are not accurate enough and the emphasis of the pose has been lost because of this.

30 minute sketch 2 I tried to work on this again.   I have been reading about other drawing techniques and was attempting not to do too much too early but to build up the lines and tones more carefully.

I think this is more accurate than the previous pose although far from perfect.   There is more a sense of the weight of the figure actually sitting down and bending forward.

I need to practice going slower – doing more looking and plotting before putting anything on paper.

Research Point – Foreshortening

Quick sketch with mirror at end of sofa.

foreshortening feet mirror

Rembrant 

A lesser know version of  the much damaged Anatomy Lesson of Dr Deijman (1656) –  this is the remaining part of a much larger painting.   “not literal representations of their public acts, but are allegorical proclamations of the surgeons as the renown masters of the secrets of the body (Kemp & Wallace p25)

Rembrant anatomy lesson

Mantegna_Andrea_Dead_Christ

Andre Mantega (1431-1506) – Lamentation of Christ

Michelangeo sistine chapel

Michelangelo – Sistine Chapel Ceiling – created 1506 – 1512 – the use of foreshortening was very prevalent in fresco painting.

uccello-battle-of-san-roman

Paolo Uccello 1397-1475 – The Battle of San Romano – an early example of foreshortening – the fallen figure on the left.

A Supine Male Nude, Seen Foreshortened c.1799-1805 by Joseph Mallord William Turner 1775-1851

JW Turner – life study

28107_salvador-dali-ascension-of-christ_t1200

Salvador Dali 1904 – 1989 – The Ascension of Christ 1958 – a wonderfully theatrical painting from a unique angle.

Lucian-Freud-–-Reflection-With-Two-Children-Self-Portrait-1965-detail-865x577

Lucien Freud  1922-2011- Reflection with two Children (detail) 1985

Part 4 – Project 1 – Exercise 2 – emphasising form with cloth

draped figure

This was quite a challenge as the forms of the folds over the body have very subtle shading.  Some areas of the figure work better than others.   Perhaps if I had chosen to work in pencil there would have been a larger repertoire of marks open to me.   The red chalk needed much more careful handling than I am capable of at this stage.

However I am pleased that the figure does seem to be there, sitting and not floating.