Moleskin pages

I'm now a lover of moleskin sketch books. It's a handy size and the paper quality in my current book is exceptional... It will hold gouache or acrylic without wrinkling too much. Here are a few pages from my latest book:

OCA D5: Assignment

This was interesting...

With guidance from my tutor I was going to set up and draw a full seated portrait with my full length mirror positioned so that the very bottom of it was sitting just in front of my left foot. Nice idea. However, I could not position the mirror. So, I removed it from its stand, but not surprisingly, I couldn't get it to stand. In the end I was so p*&%!d off that I threw the mirror down and had a coffee time-out.

After a much needed Nespresso coffee and some deep breathing I returned to my easel to reposition my mirror. While I was fumbling around with my easel, I happened to glance down at my reflection. It was quite an interesting composition. So, without considering my plans I picked up a crayon and started drawing. This was pure instinct. I hadn't considered composition or medium; I just picked up the nearest implement to hand and started making marks.

This was the picture created after 20 minutes of drawing...

I was happy with what I had created. I mean, this was purely accidental and something positive happened. Something was missing though. I was really happy with the interesting and dynamic composition, but it lacked depth. So, I photographed the picture and imported it in to Photoshop, where I could play around with some tonal values.

After much deliberating, I decided the image needed solidity surrounding the mirror and in the lower parts of the reflection. I have been cautious of how this was created ~ I don't want to lose the uninhibited nature of the picture.

I have submitted this as my assignment piece because I was excited by the composition. However, I do still feel that it could be developed further. I may need to work on more A2 studies to determine this, so I don't risk losing the spontaneity in this one.

Update...

Just looking at the piece on my log, I'd like to develop the draping hand more. Making this a little bolder and giving it definition may add more depth... Really bringing the hand forward and pushing my head back.

OCA D5: Studies in colour

This piece was a quick 20 minute life drawing study with some added colour samples.

I've just - 22:29 the evening before I'm to post out my work - decided that I'm unhappy with this as a submission for my colour study exercise, so I'm going to spend a couple of hours working on a self portrait.

So, last minute - late last night - I spent a couple of hours making some new colour studies. I wanted to experiment with some new pens I purchased so made a couple of self portraits mixing the pens with crayon. I'm not confident with pens and unsure of how bold I can be before they become over-worked.

Here is a little progression...

I'm going to work on more of these, gradually building up colour to see how bold I can make it.

Update...

I've just been experimenting, cropping compositions in Photoshop. I think the backwards tilt of the head and the downwards stare is quite imposing and is given more impact with a tighter composition.

OCA D5: Tonal study

I decided weeks ago I was going to work on a tonal study of my dad. He has more time than other family members and he's a willing sitter. Although, he is now at that age when snoozing takes places all too frequently, so the occasional probe was required.

I approached this portrait with sensitivity because I was drawing my dad. When the piece has been through its assessment I will frame it and give it to him as a gift. My dad appreciates traditional artwork and knowing this I was more reserved with my line.

Portrait of my dad

I didn't make preliminaries before starting, so I'm please with how the composition turned out. I knew what I wanted and just made a start when my dad was positioned. With a delicate portrait I struggle with 'completion'. Personally, and this applies to me generally, it is a fine line between incomplete and over-worked and I sometimes have a tendency to leave work in a more incomplete state. This is purely down to the fear of spoiling.

I think a little more work around the facial features would improve the picture and draw more focus to the head of the portrait. I'm pleased with the understated torso, which draws the eye down to the hands. I'm undecided about the work on the hands... I'm pleased with proportions and the sense of force pushing his fingers apart, but I think they may have been over-worked, taking primary focus in the picture. Perhaps I've been looking at it for too long and now I'm trying to find faults.

OCA D5: Research point

Ingres, David, Degas, Giacometti and Hockney

I'm researching the use of line in drawings made by the above mentioned artists. My initial reaction was that I'm not overly-familiar with drawings made by Ingres and David, and that Degas, Giacometti and Hockney couldn't be more different. But then I felt that it was difficult to really make comparisons with Hockney because his style has changed so much over the years. It is interesting to see variations and levels of experimentation change over the years. I think the reason these artists were selected is so we can make comparisons of the periods... Looking at the progression of freedom and expression, but also at the fundamentals, which haven't changed so much.

Ingres

His line is very clean; very precise. It seems he liked to render facial features, but then torsos are drawn mainly using line alone, and left in this almost, transparent state. His drawings are meticulous and the line quality in some appears very architectural.

David

His style, although similar to Ingres' from the same period, appears a little more traditional and in keeping with the handling of the old masters. It seems he possessed the ability to depict form beautifully with just a few hatched marks.

Degas

I have admiration for any artist who is skilled and imaginative, who will allow his lesser fulfilling works out in to the world. I'm referring to some of his reactive sketches, his preliminary drawings or doodles and it's great that they can be treated as such; taken for what they are.

One of Degas' cruder sketches

To this... A drawing that would inspire me to reach for my pencils. There's a solidity in the muscle tone and the line re-appearing from the denser areas is beautiful.

Giacometti

He seemed to enjoy the continuous line, while trying to feel his way around a drawing, finding form. Perhaps a lot of his preliminaries were made for sculpture. His drawings appear rapid and vigorous, but I believe he would return to them and continually amend. Very different from the clean and precise style of Ingres and David. I love Giacometti's work, especially the drawings he has worked and over-worked with some corrective paint... Seeking out those lines he wanted to keep.

Hockey

Hockney hasn't been afraid to experiment, with varying styles and different media. His drawings are no exception. Using Hockney's description, his drawings from the 90's onwards are much cruder, whereas his early drawings from the 60's and 70's and much more refined in the line he has included, and excluded. I'm going through my Hockney books and seeing comparisons between his earlier drawings and drawings made by Ingres... The rendered facial features and line-only torsos. Hockney is one of my favourite artists. Not because I think he is one of the greatest, but because his life is art and he makes it enjoyable. That alone is something to aspire to.

The Connoisseur by David Hockney (1969)

OCA D5: Line drawing of the whole figure

Once again, I took off to my life drawing group with my A2 pad and crayons. This week (Tues 11th) I wanted a line drawing of the whole figure. The model was a big chap with skinny calves and, excluding breaks, he was sitting the same pose for the full 2 hours. I came away with 2 line drawings. Actually, I came away with 3, but that's another story.

I was pleased with the figure in my first drawing, but overall the piece lacked composition; the image was lost. I have cropped the picture for my log, which has given it more focus.

Approaching my second meant considering the figure and the composition. This was much bolder with my figure occupying space at the forefront of my picture.

OCA D5: Quick studies

Armed with my drawing board, A2 pad and my crayons I set off to my life drawing session. My intention was to be bold and hopefully capture some quick poses and a line drawing. The structure of the session suited me just fine... The first hour was two 10 minute poses, followed by two 20 min poses. Break for 10, then a single 50 minute pose. I came away with a couple of good pieces and a 50-min piece that I regrettably destroyed - a problem of mine.

My 10 min poses:

I hadn't attended this particular drawing group for a while. One of the challenges I had to overcome was moving around a room full of artists... I was a little anxious. I feel my quick studies have improved and this was partly down to drawing larger. I enjoyed the freedom of the larger paper. Also, I used a crayon, forcing myself to think larger and bolder.

OCA D5: Time was (is) of the essence

It was agreed that I would complete this stage by the 22nd Feb, which gave me just over two weeks from completing 'Drawing 4'. I had to be organised. I signed up to a life drawing group in Whalley who meet Tuesday evenings, and arranged a couple of sittings with my dad for a tonal piece. Any exercises left over would be completed as self-portraits. Actually, I think my assignment piece for 'Drawing 5' will be a self-portrait.

OCA D5: Selection

So, I've selected to complete the figurative assignments. My passion for art goes beyond the figure as subject matter, but it is the organic line and form of figurative drawing and portraiture that really excites me.

I like to read about art history and movements and love discovering new pieces of artwork by the masters and modern-day, living artists. A handful of my favourite artists are Rembrandt, Egon Schiele, David Hockney, Tai Shan Schierenberg, Andy James and Sean Cheetham. Before I started my work for 'Drawing 5' I drummed up inspiration from these artists.

A self-portrait by Andrew James:

OCA D4: Assignment pieces

OCA D4: Self portrait

My smaller studies were made looking in to a mirror with my sketch book on my easel. I was only focusing on features and proportions and not considering rendering with hatching. There is a very good likeness in my smaller portraits and a reasonable likeness in my other two pieces. I put the same effort in to accurately recording my features as I did with rendering the blouse when drawing my clothed figure. With my portraits I wasn't as elegant with my line... It was more about getting the reference points in the right place.

Portrait from memory

I didn't make preliminary drawings for my memory portrait. I have a vivid memory of a misplaced photograph taken of me holding my son when he was a baby. I wanted to gradually work my line until I came close to the photograph I remember. This was a reasonable resemblance, although the features could be more accurately recorded. I've had a lot of practice with self portraits and painted myself numerous times. I'm a model who is always available.

Self portrait

My self portrait was started about twelve months ago, for this exercise, and has gradually picked up tone and line ever since. It's just a drawing I want to keep working on. Since the original drawing, it has taken on a slightly caricaturish appearance... Flowing line and exaggerated features.

As for family and friends, they all acknowledge the resemblance (even my four year old son), but they all wish me to depict myself with a happier expression. Ummm.

OCA D4: The moving figure

A fleet or pose?

To force the fleet I experimented with bolder materials. I tried my child's felt tips, ball-point, my new Spectrum pens - love these and need some bolder colours - old fabric pens, and made a few pencil drawings, which I managed not to obsess over. I'm particularly fond of the sketches made of my son drawing... I had bold medium and a little boy constantly changing position... Ideal for capturing fleeting moments.

This was all about just responding to his movement, but also retaining small details while I was drawing. Mental notes were made about foreshortening, how his head was positioned, his hand positioning and the curl in his toes.

My work space

This next drawing was created gradually over the space of one working day. It is the view from my desk. The primary figure is facing me, positioned at the left, scanning across office. The other figures were added throughout the day, as and when I was available to draw. I would like to try the same exercise, but from a better vantage point. Desk dividers obscured my view of other colleagues.

I made a sketch, partly from reference and part memory. This was a boat trip in Italy. The weather was overcast and a lady in the foreground was wearing a red semi-transparent rain coat over her regular jacket. The other people on the trip have been sketched from memory. I made this drawing using ball-point, felt-tip pens and Spectrum Noir Alcohol pens. The layered colour and blotting of the ball point have accidentally created the effect of bad weather and a transparency in the lady's coat. I don't experiment and mix materials as much as I should, but I've thoroughly enjoyed working on the exercises for this assignment and using some new materials in my figurative drawing... I'm now gathering ideas for new pieces.

OCA D4: The clothed figure

The clothed figure

Overall, this was my most satisfying piece. It isn't the most creative, but I really feel I captured her posture, the delicate fabric of her blouse and the subtle muscle tone in her back. I sometimes struggle with the patience required to be a little more subtle when drawing; partly due to me suffering from anxiety. I approached this with patience and calmness, and I'm thoroughly pleased with the results.

I was able to focus on the body as a whole, without getting bogged down in detail, and once I had the proportions, I worked gradually over the whole drawing, layering and slowly building tone and form.

I would need to approach a similar drawing in the same way, so if I wasn't restful then I could struggle with more delicate areas. Personally, I find it difficult to force a piece of artwork, so the quality, or variation in my line can often be determined by my state of mind.

OCA D4: Gesture

Capturing the poses

For the first standing pose I had my model stood with her hips jutting out, upper-body leaning over and a tilted head to even her balance and make for a nice pose. This drawing was rapid and drawn boldly and did capture the essence of the pose. I see a sense of movement in the spine and the hips and the extended neck and vivid neck muscles exaggerate the twist of her head to counteract her weight. I think the line could be comparable to an Egon Schiele drawing, albeit, not quite as expressive.

One of Egon Schiele's more natural line drawings, but with comparable line...

For another of my standing poses I had my model hold the back of a stool (drawn as a bar) and shift just a little of her weight on to her right side. She lifted her left foot off the ground. The quick reference points are actually drawn with a marker that was running out of ink. I am happy with how I've captured the slight shift in weight, the raised leg, upper-body twist, slight push of the hips, arched back and tilt of the head to counter her balance.

Sense of energy

I did capture the poses and I'm quite good at quickly memorising posture and gesture. I made some quick sketches of work colleagues and sketches of my son dancing around my living room for this exercise. I am reasonably happy with the drawings, but not with the sense of energy I was trying to capture. The figures are balanced, but my line just isn't dynamic enough to capture movement. I think because I was so focused on trying to capture energy I became stiff and lost all sense of rhythm in my movement. I've actually captured more energy in some of the drawings that weren't completed for this exercise. This is something I will likely attack during my next life drawing session. In fact, reading through the figurative section of the next assignment; these new drawings will likely be something I will submit. Perhaps drawing on a larger scale with broad strokes will help.

Drawings of my son...

Some more gestural drawings of my son...

Quick update...

I've just found this drawing on Saatchi-online...

Not an original idea by any means, but using the same drawing for various dynamic positions is something I will experiment with. I will credit the artist for this picture when I locate their name.

OCA D4: Essential elements

I didn't have a model available when I worked on this exercise and I wanted a good variety of poses and creative compositions. I set up lighting and took photographs of myself in a chair, then worked from the reference material. I hope this is satisfactory...Besides one or two other sketches, this is the only exercise I didn't work from life.

Maintaining focus

Comparing the more rapid approach to the hour-long pose in the last exercise, I found that simple reference points like my elbow to wrist to finger, became larger shapes like strong cast shadows and negative space. There was still an element of line-drawing involved, but facilitated nicely with blocks of tone. I thoroughly enjoyed this exercise and it was nice to play with the conte crayons, which isn't a medium I would normally choose for life drawing.

Sense of pose

My favourite drawing was made in charcoal. The composition is unconventional, the pose a little awkward and I like the overall atmosphere and enigmatic quality. However, it took a little longer to render this pose with charcoal. I love charcoal, but I love it because I can spend a long time enjoying and manipulating it. I created this drawing with charcoal, putty rubber and a little added grey conte for mid-tones; to give it more form. I didn't stay within my allotted time-frame, which is why I think my two smaller drawings in soft pencil gave the best sense of pose in a short time.

These drawings give the best sense of pose because the medium is more diverse. I could block in very dark cast shadows, handle mid-tones and softly glide the pencil over the surface to suggest a limb or item of clothing. I found it much easier to quickly capture form and pose.

My drawing in charcoal...

Summary

My aim with this exercise was variety. Variety in gesture, composition, medium and mark-making. I am especially pleased with how these depict gesture, light and a sense of mood. I would like to experiment more with conte, and perhaps on a larger scale.

OCA D4: Three drawings

Proportions

The overall proportions are accurate, but this is something I've practiced over the years. I used to draw an over-sized head on my figurative drawings, and over-sized eyes in my portraits. A conscious effort was made to correct this problem and it is something which is more natural now. But, Lucian Freud's earlier drawings were depicted with over-sized features, so I shouldn't complain too much.

Form

To create form I did try to imagine my dad's (the sitter) muscle and skeleton; particularly the angle of his spine. In the seated drawing, there is more curvature in his spine, which is noticeable in the hunch at the top of his back. I also had to pay close attention to the shortening of his left arm, which I rendered to push back in to the distance. I didn't want his arm to look as though it was sticking from the front of his chest.

In the standing drawing, his spine is obviously extended... It was useful to consider this and the central axis noted in the 'Stance' exercise.

For my third picture, due to my dad's time constraints, I had to go back and work over my preliminary drawings of my son sleeping. I was considering drawing my son, but he is four and a half, so for the seated and standing poses, any period greater than a couple of minutes would have been near impossible.

There was an interesting problem with the third drawing that was the teddy bear laid over the top of his arm, obstructing all but his hand appearing from the other side. I had to visualise and draw through the bear to ensure his hand appeared attached to his body.