Oca Drawing 1 Assignment 4 Line Drawing
I decided to head out for another life class to get this part of the assignment done or at least make a start on it. By the 20 minute pose something started to happen with the lines that I quite liked. I continued this to the long pose. I like this effect. I use mostly straight lines with the odd curb. I think with it being in pencil it looks a bit unfinished. However I thought it a good place to move forwards from.
2 minute poses
15 minute pose
20 minute pose
45 minute pose
I revisited these life class drawings at home. Again I worked at an easel as I had done in class to allow for free arm movement. I experimented with ink and a pallet knife. I had hope for more with this drawing. However it was tricky to get the ink off the pallet knife taking several attempts for each line. It would have worked better on a flat surface I’m sure. I’d like to try again as I had hoped to build up allot more line in to a kind of swirling mass of lines that some times met together creating a recognisable shape, the model. I think I will try to find a dip pen that works with the left hand. The last one I had years ago I couldn’t get to work at all. Maybe their just tricky or I’m a bit slow!
Ink line drawing using a pallet knife. Not very easy to apply. Think I should try purchasing a dip pen.
The next two drawings drawn from the original drawings made in life class I used a brush. Not quite what I was hoping for as the lines are thicker and more dilute than I had in mind. Never the less a stage in the development.
Ink line drawing using flat head brush. Large paper A1 as brush lines are thick.
Ink line drawing using round head brush and shoe lace. A1 paper.
Then it was back to the sketch books for a bit more anatomical training. I felt I wasn’t quite getting the shoulder to torso join right so focused on this area.
Back to anatomy books, focusing on shoulder – torso area
Some construction drawings from head. Thinking about shoulder, torso, top arm intersection.
A few more construction from head drawings
Copy of anatomical drawing from ‘ Complete guide onto life drawing’ Bammes, and constuction/anotomical drawings from models in Simblet ‘anatomy fro the artist.
Thinking abut Egon Schiele use of out line and his interesting compositions. On right some more construction drawing.
I wanted to make some quick studies of Leonardo da Vinci’s first preparatory drawings for The Burlington House Cartoon. Just copying this fantastic constructive drawing of the grate mans has helped me get a feel for these nice flowing lines that tell of movement and form. I can see how this drawing helped Jenny Saville towards her fantastic series of drawings on motherhood.
Looking at Leonard da Vinci sketches for ‘The Burlington House Cartoon’ spurring some constructive gesture investigation using a curvy line. Perhaps more pleasing that straight ones. I intend to try this style when out and about as could work nicely for fleeting moment gestures. It certainly gives a pleasing solidarity to the figures.
For the final drawing I used A1 paper at an easel so I could use the whole swing of my arm to get nice swooping lines that express movement. I had managed to rope my cosine Charlotte to do a bit of posing for me (very grateful). I asked her to pose in one position for 15 minute. During this time I put down what you see as the green figure. I was going to do the under drawing in green then go over the favour lines in a charcoal so working could be seen but there was a defiant line drawing over the top. However so as no to get confused between the two poses I changed colour pastel. This drawing was a little organic, making decisions on the hop which I think always leads to more life in a drawing.
After a brake I asked Charlotte to repose with her head to her left this time and with one leg up. Then I drew in this pose. I popped into add more to the green figure as well as I drew. I tried to keep a rhythm to the strokes to keep the lively feeling. I even added a few made up positions for the arms. Some thing I am now confident to do after all the construction practise.
After what couldn’t have been longer than 20 minute I decided I was happy enough to finish. I came back to the drawing and did a little more fiddling with the hands and feet with out the model there. A drawing like this could go on for ever I suppose. I had intended to work at least one more pose into it but felt it worked as is. I was conscious not to over work it. I’d love to do some more drawing like this. Part 5 will give me opportunity to do so as I am going to be looking at the shape and form of animals.
Taking some prelim drawings from the model.
Final drawing – ‘Fidget’ A1 cartridge paper, hard pastel
- A sense of form with line – I have been struggling with this line to get a sense of roundness and form with the torso. I’m happy wit h the results here.
- A sense of energy = Life.
- Composition. Incidentally it has turned out in a kind of double triangular (diamond composition which I’m happy with. Another reason I chose to stop here was I didn’t want to lose this shape. Similar to the on Saville has in her drawings. The negative areas help the form pop.
- Scale of the page. It fills the page nicely allowing the figure to have some weightiness. A trick learnt from looking at all those beautiful Veronese paintings.
Could Be better:
- Scale and proportion with in drawing. I had to much fun with this drawing. I didn’t take the time to think about scale and proportion. The hands feet and heads are all out of whack.
- General draftmanship. By this I mean this drawing is a long way from Saville gorges drawings. Her skills as a drafts person are exemplary. I can only continue to practice drawing. Particularly in a classical manner in the hope my drawings will improve and become more beautiful. Also A longer time spent would help with this. The challenge is to get the accuracy of form and keep the energy. Saville nails it.
- I’d rely like to take this further, add some tonal elements central to the drawing. Perhaps something I can try with the form element of the assignment.
For each drawing, consult your preliminary studies and make notes on what you plan to do. Think about composition, medium and approach. Write a few notes on the artist(s) that have inspired you to work in a particular way. Be inventive in your approach and in the materials you use. You’re not restricted to working with black on white. Try reversing this to white on black, or consider monochrome, perhaps dark blue on pale blue paper, or ink and charcoal on newspaper – the list is endless, so be inventive. Allow around two hours for each drawing.
1 Figure study using line (A1) – Seated model in an upright chair
I started this assignment by trying to do a line drawing of myself but failed comically badly. My top half is much too bulky compared with the rest of me and there is a lack of reality about the finished drawing. Surprisingly I rather liked the face as time went by and the result was definitely better than the rest of the body. I found it difficult to drawer myself and to sit at the same time. I don’t think my eye was particularly objective either!
So I attended a life drawing class and decided to develop the model’s seated pose. She was wearing fairy wings and holding flowers but I decided to drop these props from my pictures after a few sketches as they were distracting and not adding anything to the finished pictures. I found it really hard to keep the proportions accurate because of the slightly awkward position the model was sitting in. As a result I repeatedly ended up with shoulders that were too wide and the foreshortening in the other leg was not always convincing. In some of the preparatory sketches the hands and face were quite nicely depicted but by the time I got to the final pictures the details seemed to be naturally reduced.
I tried very hard to be as expressive and experimental with the large drawing as I was with the preparatory studies, trying not to tighten up or lose fluidity. This was hard, and possibly not achieved, as I was constantly grappling with the challenge of transferring the images onto the larger scale paper. I found this really difficult.
There is an artist called Fred Hatt that I frequently go back to as I am fascinated by his approach to figure drawing:
I wish I could reproduce the effect he creates. His influence informed my attempt using aquarelle crayons. Fred is very sensitive in his use of line- many of which define contours at the same time as light and shade. I would need a LOT more practice to achieve this fantasyic effect.
2 Figure study using tone (A1) – Reclining model
Pastels on A1 cartridge paper: For this part of the assignment I had to default to life drawing models posing on-line because there were no willing models available at home! Firstly, after a few loosening up sketches, I tried using pastels. However, in my mind this would have ideally been on a mid-tone paper, and as the only A1 paper I have is white, I did not feel the finish was very effective. I also made my usual error of making the head too small- either that or the legs and body are too big!! I struggled with the head and overworked it making the effect heavy and lumberous! In places the picture is loose and in others it looks like I tried just a bit too hard!
Charcoal on A1 cartridge paper. I had another go at the assignment using charcoal. I always enjoy charcoals; I like the fact that they stop me being too finicky about detail! They also encourage me to focus on tone rather than line. I was really pleased with this charcoal drawing. I found it easier to do on the A1 format paper, which encouraged a more gestural approach. This drawing mainly used tone, rather than line, to create a sense of form and atmosphere. I found I naturally looked at shapes. I realise that I have unwittingly used a model who is not showing her hands. Also, by not over-working the hair, it’s lightness brings the head forward in the picture. The light areas against strong shadows gives 3D form to the figure.
I have really struggled doing these drawings in a large format as they have often required scaling up from what I can see by eye so numerous errors tend to get introduced.
In all of these attempts my models are unclothed -I hope this still falls within the objectives of the assignment?
3 A portrait or self-portrait combining line and tone (any size)