Very challenging pose
and I don’t like the drawing. The model was fantastic. I would have loved to do a straightforward portrait. I definitely wasn’t looking for a reclining pose, and the unaccustomed view was difficult to manage. However I was glad to get a version of the face that seems to have its parts in almost the right places. I found myself wishing I was painting for the sake of color and for paints greater ease of making corrections.
Before doing the life size version on the dark grey paper, I made a smaller color version on 9 x 12 Strathmore paper. I like it a lot better though its more caricatured. It seems sweet somehow.
I made several small fast drawings in the notebook at various junctures during the session, which I like better even though they are very spare and exaggerated.
They all appear at this blog as though they’re nearly the same size as the oil pastel, but the lines tell you that this is writing paper so you can judge that these are small images. It’s kind of fun to see them enlarged so that they compete with the oil pastel above which is approximately life size.
When I draw this way I am just thinking to myself. It’s a way of putting things where I think they belong, and with each subsequent drawing I strive to correct errors of prior attempts. And yet I’m not focused on error, just drawing and putting lines down.
I’m going to be teaching soon, beginning in July. I could have left these in the file but I include them because I am so often preaching about making mistakes and taking chances. I shouldn’t be lecturing anyone about mistakes if I’m not willing to make some very publically myself. Or — it’s not even that these are mistakes. They are drawings that are not particularly refined. They each have helpful information in them (helpful to me anyhow).
Sometimes artists will find a method that is pretty reliable that they can use in demos. When I teach I plan to avoid the prepackaged technique, and I’m hoping that the students will appreciate my high wire act. By taking chances I could, after all, fall on my fanny. And that would be awkward.
But if I do fall, I’ll dust myself off and continue drawing.
Representing the eyes as slits was especially delightful. I strove to pare things down to big essential shapes.
I turned this one around because I like it better from this angle. That’s another thing about making these sketches: they give me ideas. Here it’s not a reclining person, it’s a face of someone upright.
A pose like this one is difficult to draw and to get true. The positions of the features are confusing when seen at this angle. We’re used to seeing people upright. Also the effect of gravity changes the features and a really good drawing will capture that change. The movement of the face is toward the floor so the lower cheek will be drooping a little, even in a young model with very plastic features.
I rely on perception and I throw the line like you’d throw a baseball. Aim, throw. If you don’t take chances then a certain versatility never has a chance to occur. Sometimes you get one shot at something, and to do it the way you experience it may take bravado. But if we always demure and follow a safe route we never learn how to seize the moment, never prepare emotionally for the bold gesture.
If a befuddled robin happens to land on a limb in front of you while you’re drawing, you haven’t time to say to yourself “this is an oval, here’s another oval.” You better just start drawing — fast — before the bird realizes his mistake.
If I needed this pose for a painting, I’d hire a model and do several versions until I got it right. But in life class you do the day’s pose and then move on. You never know what you’ll get and you just try to be adaptable!
For my ego’s sake, I want to post a similar drawing I did that worked out. I drew it from a photo, but I still think it has some bragging rights.
Similar idea except that this time it succeeded!