Here are more sketches done in grey brushpens (the 2 and 5 minutes sketches at the bottom) and in gouache on toned paper (10 and 20 minute poses). The palette is simple, white, ultramarine, burnt sienna, with some elements of cobalt blue, crimson, terra verte, lemon yellow. I am using a single flat brush for almost all the marks. The idea here is to use the time discipline of these fast poses to force me to prepare mentally and then make fast mark making decisions in paint. Since I did these, I visited the British Art Show 9 exhibition at Manchester Art gallery where I saw Hurvin Anderson‘s painting “Is It OK To Be Black?” I really liked the simple expressive heads painted in with broad continual brush strokes of white on black. Something like that seems worth a try this coming weekend.
These are from a few weeks ago. Covid intervened and I missed a life drawing session. Here I started in the 2 to 10 minute poses just using pen and switched to gouache for the three 20 minute poses. I painted onto toned paper, but blocked in a shape then added light and dark on top. I have a plan next time to make better use of that toned paper so I can be more sparing with paint, and also to paint more in flat blocks of tone and let these do the shaping rather than the brush strokes.
Thanks to Naomi, and to Hannah for organising these fortnightly sessions. I had no clear plan today and used a mix of techniques. This is a mix of 2, 5, 10 and 20 minute poses. note the two drawings superimposed on each other in blue and green sharpie (better had I used complementary colours). I think I am still overdrawing. Especially on the blue paper, fewer, bolder strokes might have worked better.
Working top to bottom these were three 20 minute poses, two for ten minutes, one at five and two 2-minuters. I was working A4 on white paper and with crayon on toned hybrid A4-A3 recycled brown paper usually used for scrap-booking (not a great surface but all I could find on the day).
At the life drawing session, the model was once again Sophie who holds the most amazing positions and whose animated features still shine with humour as we draw. Previously I have worked in charcoal pencil and conte crayon. Today, I worked in pen and ink, grabbing the wash off the nib with a water brush. The first 2 minute poses were drawn free but subsequently I built a construction in pencil.
Sophie has beautiful tattoos. For the first time I tried to at least reference these in the longer drawings.