This week’s theme was measurement choosing parts of the body to use as markers.
Little stickers were placed on the model to aid navigation. It made me feel like a student again, in a good way. The rigour of preliminary point drawing paid off handsomely, especially in the small middle pose. The length of the model’s legs got out of hand in the right hand pose due to the size of the paper and my viewpoint; after trying to make it ‘right’ in Photoshop, it seemed right to leave it the way it is.
A sequence of 4 poses all around 15 minutes; first left then right then middle then middle top. Acrylics and conté pastel.
A 40 minute pose. If only the composition was a tad more dynamic; the viewpoint lower and the figure to the right of the page, looking into space.
The last pose. 30 minutes. The thought was to make a sensitive intricate pencil study of torso like a Bach piano piece, with the hands as the start and end of the image… then the paints came out, like gatecrashers and changed the mood to Iggy and the Stooges.
That’s how the moments go.
There was something dynamic and expressionistic in my marks this session.
It might be tiredness and the choice of colours.
The last work of the night. 1 hour. Strong orange marks then cool green, blacks and greys, pinks covered in the last 20 minutes with coloured pencils. I’m getting nearer to my goal of portraying the sitters presence in the room at that specific time, with the sense that the work is being created from the model, hence the obvious marks of brush and pencil.
A detail of the work above. A lot of movement, energy and colour. A bit confused.
On a black sugar paper. 5 minutes. The brush marks in white and light blue were painted first. Then came the chalks.
I set out to make the boldest marks in the strongest colours, with a little conté pastel to put in the detail.
The thought before this was to make the largest, simplest and most free painting in the next 5 minutes.
There has been a fair bit of thought before laying a brush on this. First a layer of spray varnish went down, then a range of deep blues were painted onto the night time windowpanes. The orange was chosen to add a 3D quality. Notes have been made about gloss and matt varnish and other colours / textures to be added.
I am hopeful this will turn out well.
There was a problem with the model, so this week we drew each other.
I’d always wanted to draw Anne so this seems like a good time to make this happen. I’m going to paint the resulting work and call it ‘The Magician”.
In this painting I was the main model. The paper was at an angle hence the sweeping perspective moving right to left. It was fascinating to see how people moved while working.
This is a great drawing made by Mark of me drawing the image above. You can tell he’s an architect by the great angular use of line and composition.
Mr Skellington in orange verdegris, green grey and black pencil. The gap was left for the model that never came. Mr Skellington seemed a bit resigned this week.
The works below are from the week before 15.01.16.
I’d been bought a tin of pencils ranging from 4H to 7B.
A fellow artist commented that the work was looking like mock classical Picasso. He meant solid, mannerist and without large amounts of shading. Sounded good to me.
This was drawn on the floor, hence the perspective.
Two 15 minute drawings.
Three 10 minute poses. Trying to get the profile right.