Experimental drawi …

Today I learned that the Warwickshire Cricket Ground executive suite serves excellent sausage, onion gravy and mash.  Tonight was the last experimental drawing class of the term but I was having a cracked tooth repaired.   I was gently steered to the most expensive of several options, the dentist working to keep the eagerness out of his voice.  Home: my wife had baked a celebratory cake.  What, she musesd over the icing gun, should I write for someone forced from her job by a bullying manager?  (Later, I see the answer was “good luck”). My son was still awake talking loudly to a reindeer.  On Saturday, we agreed, we will make the reindeer a bed from a shoebox.

The last art I did was an ink sketch of Briony, the life model.   I have learned that I need to build the image then destroy it before rebuilding.  This did not get far enough at the time. 

Since then I’ve been thinking about colours, dividing the paper into quarters to some extent based on the colour wheel.  I tried this out on the ipad

So keeping to the formula, I painted over the original while waiting for my mouth to recover sufficiently so I could eat.

When it dries, I think I will draw back in in pastel.

life drawing

Thanks as always to Briony – a great model with regal poise.

Someone described my blog as a “mixture of joy, despair and hope” which made me laugh.  I can say I was despairing after life drawing last weekend.  I had clear ideas and couldn’t persuade the gouache to work the way I wanted – it wouldn’t lift off the prepared surface to create negative shapes nor build to create layered colours.  The preliminary sketch above was the best thing to come form this session.  Huh!

Here are a couple I did earlier.

   

experimental life drawing

Yesterday, in the life drawing session, I followed a class plan intended to help free us of some of the constraints on our drawing.  I covered the paper in a variegated wash in acrylic ink to form a ground.  In gouache, I blocked in the warm light spilling across the lower limbs and lifted out from a white wash to form the head and torso.  Then, before the break, we were told to partially destroy this. I washed over it in dilute sepia ink both covering and smudging the still wet gouache.

My plan then was to add back the minimum of marks.  I meant to find the key highlights and depth of shadow and mark just these, looking for contrasts in hue and tone.  How easy to be seduced by detail though.  I started to draw into this with pastel, standing too close without breaking between making marks to just look.

I am happy enough with this outcome and pleased with this experiment in mixing media.  However, I can see how a more subtle, more expressive drawing might have been achieved with fewer marks.

In parallel to this process, I had sketched rapidly in charcoal to get an idea of the main shapes.

experimenting in charcoal and gouache

A week ago, I began a life drawing in charcoal on rough watercolour paper.  It proved difficult to build the contrasts because the tooth grabbed the grains and prevented me lifting tones with putty.  So I painted over it with gouache.

In retrospect, I needed to use more white in the mix or dilute the pure colours more.  However, I liked the graininess of the charcoal showing though the paint.  These next doodles were done later to explore these effects.

  

  

I was aiming for subtlety of colour, retaining the charcoal tones.  I based the second pair of doodles on a photograph in a book on the siege of Stalingrad.

I went prepared to use this approach in life drawing yesterday.  However, I followed instructions, painting the paper a mid tone to start, then building the picture with gouache white highlights then deeper grey dark tones before drawing into this with pastels and finally charcoal to give depth to the shadows.  I didn’t have time to re-model her torso properly.

I’ve begun to make more self-conscious use of warm and cool colouring to suggest depth.

Reclining male nude

This was an early attempt at life drawing.  I used what has become my favourite medium, at least for now, the combination of sepia and paynes grey inks sloshed into wet paper.  I drew directly in ink, covering over my corrections to define the shapes.  I enjoy the spontaneity of this whereas my recent attempts to use a wider repertoire of colour have failed badly.  A lot to learn still.

life drawing classes

Is the human form the oldest object of artistic endeavour?

This painting was done in a drop in life drawing class in the Midlands Arts Centre http://www.macarts.co.uk/.  The group was led by Paul Bartlett.  Briony (thanks for allowing me to post this image) is a great model.

My style is haphazard – building the initial shapes in acrylic ink then overlaying that in gouache.  I started in the middle and found I had no space for her head by the time I reached the edge of the paper.

ten minute exercises

Sometimes I need to draw practice pieces from photographs.  The Figure and Gesture site (see links) has proved to be a great resource in this way.  There is a selection of images of nude and clothed models and a setup that enables the challenge of ten-minute warm-up exercises.  Here are two such sketches.

The ink is acrylic sepia and interestingly Parker’s black fountain pen ink – I had not guessed that it separates into greens and yellows when diluted.