Sorry I have not posted in quite some time. I am still drawing but trying to run 4 different blogs gets to be too much. I need to consolidate somehow this summer.
Anyway here’s a few drawings from the past 2 weeks after getting back from a x-counrty motorcycle trip.
What I am shooting for is a look like the figure is emerging from shadow, as if emerging from tannic swamp water. No meaning just academic figure work rising from the depth.
This latest test is from a Sunday session with Rembrandt chalk pastels and conte black on toned Canson paper. Then in photoshop painting an oily wet brushy over the highlights and then burn tool the shadows about 70% opacity. I’m pretty happy with the results. I want to get a system going with real paint soon.
Tipping the indicated high lights in photo shop after scanning. I am not getting lead poisoning like the old-timers did when they came back in with a flake white brush and tipped the point with their tongue.
Just to continue to try and lay in color, ANY COLOR as long as the goal value is correct, into the topography. Short poses, 3 min, 15 min face, 30 min body.
9 x 12″ conte and pastel on paper.
Been busy with teaching and wrapping up the semester, a quick one for practice in the Moleskine pocket pad.
If I could get to the modeling I need with just the line work I would stick with that because I like my line quality. However I am not able to to get the figure to emerge from the nothingness without color. I want it to look like the the form is under water.
I am glad its not so cold here yet, but it is getting cold. Going up to Virginia for Thanksgiving and I hope to see some snow.
The construction of a head or body begins with basic block build-up, then establishment a combination of enclosed shapes within those blocks as planes of light and planes of shadow. Then I find the edge of the shapes but I don’t feel the necessity to refine or even stay within these edges. I just need to know where they are.
Nothing more. I don’t try to draw an eye or a nose.
9×12″ Graphite and White prism on Canson toned paper
regular observational drawing practice is good for me for 2 main reasons.
1) it allows me to see the beauty in anything
2) and this provides insight into my spiritual condition, if i cannot succeed in making a beautiful drawing.