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.
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.
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)
Andre Mantega (1431-1506) – Lamentation of Christ
Michelangelo – Sistine Chapel Ceiling – created 1506 – 1512 – the use of foreshortening was very prevalent in fresco painting.
Paolo Uccello 1397-1475 – The Battle of San Romano – an early example of foreshortening – the fallen figure on the left.
JW Turner – life study
Salvador Dali 1904 – 1989 – The Ascension of Christ 1958 – a wonderfully theatrical painting from a unique angle.
Lucien Freud 1922-2011- Reflection with two Children (detail) 1985
Above is the first 5 minute study. I was using pencil and trying to get the sense of slump in the figure. There is weight in the folds of the torso and the back.
Using charcoal and conte stick endeavouring this time to use tone to build the shapes of the model. Although this is not accurate in terms of proportion some of the marks and contrasts are more interesting than in the first 5 minute sketch.
The 3rd 5 minute pencil sketch of a crouching figure. I like the dynamism of the lines although it is more outline than solid form.
Standing figure drawn with pencil lines for 5 minutes. Although it is also just lines like the previous sketch it feels more solid and with weight.
With the last 5 minute sketch endeavouring to make the outlines more interesting and visceral.
There are 3 10 minute sketches for a longer sketch later in the session. Worked with pencil, then conte and finally charcoal.
I found it a very awkward pose as one leg is not visible and the width and length of the back difficult to define. I didn’t measure any of these but continued to lay them down quickly.
This final drawing of the pose was for 35 minutes. I should have done more measuring and checked the angles and relationships of the limbs etc. However I enjoyed and had more success in building up tonal layers creating more weight to parts of the drawing. Used all the drawing materials on this single drawing.
Quick 10 minute tonal study – this perhaps works better because it has context i.e. something for the model to sit on and the background.
Final 6 minute study where I tried not to draw outline and create less marks and be more thoughtful about what to include.
- It is difficult not to just draw outline
- I found it a challenge whether to measure proportion or just go for immediate response especially with the quick sketches
- Less is more in a lot of cases but need to build discipline in order to hold myself back
- I enjoy the darker media especially the conte sticks rather than pencil – makes it easier to create weight and tone to the drawings.
- Need to remember to include some context in the drawing – background, seating etc which helps to begin to develop a sense of place to the sketches.
Freaked out again with the prospect of drawing a still life and an exercise proper. In the end thought the best way was to allow myself to make a series of messy drawings – pulling myself back into looking again.
Liked some of the shape making rather than the marks. Also lost all of the subject matter along the way but didn’t mind because it got me going.
Lesson:- When in doubt make a mess
Another messy one trying to find the shapes and spaces. Enjoyed this much more. Although this is not an accurate outcome. Does it matter? I like the fact that the drawing is characterful. It interests me. More varied mark making.
Not as messy but more accurate although not correct. Getting beyond outline which is not the purpose of the exercise.
Intentionality :- a word that came up over the weekend and struck a cord. When there is intention in the mark making it is much more successful. I tend to dive in and fill in the space because I can’t bear the white.
Final drawing in the sketchbook. With more concentration getting the layout of the objects. They are now “in place” although that place is in the air.
Now going to work on a larger piece to see what comes through.
This is roughly an A1 size and have used more varied materials. Still floating. Got to a point that I didn’t know what to do more. Most of the forms are there and some of the texture but didn’t want to shade in.
Being me I couldn’t resist trying something completely different so added some pieces of extra paper.
Would have been better if the pieces of paper didn’t have straight edges and more like my old collage style. Also the tonality of the pieces of added paper are too bright but I do like certain passages of the piece and parts where it overlaps.
Learning:- I am pleased to have got going. But am finding my concentration time is not that long at the moment but suppose that that will come back with time. Also need to be more discerning about what I am trying to achieve. Perhaps more standing back and looking.