Buttnekkiddoodles

 

Week 4 at The Human Anatomy Lab and my subject was the same cadaver Virginia Ferrante-Iqbal has been continuing to dissect. Now laying face up with the skin and subcutaneous fat removed from the left side, it is a dramatic demonstration of how thick those layers were. Virginia commented on how heavy and difficult to lift the tray was that contained the removed skin and fat.

I again showed up without the ideal color selection, thus the muscles wound up appearing too brownish in my drawing. Pitt Artist Pens on Toned paper.

 

Some end of the decade urban sketching.

 

Working with various fountain pens filled with DeAtramentis Document Black Ink and Pitt Artist Brush Pens in Stillman and Birn Gamma Series sketchbook. #draw #urbansketching #stillmanandbirn #fountainpen #deatramentis

What can I say? Sometimes I get carried away. The left side was just a sketch of one of the artist at a life drawing session at the Palette & Chisel. The right side was a demo page. In time the eyes spilled over onto the left page.

 

Drawn with Pitt Artist Pens, F-C Albrecht Dürer Water color pencils and some fountain pen. From life, photo references, and some just made up. » Continue Reading…

 

It’s been awhile since I posted some of my life drawings, January was the last installment so, without further ado, bring on the butt nekkid parade.

      

The above drawing is probably a 3 minute sketch. It ‘s not a slap dash piece, it may happen fairly quickly but is also methodical. I lay in a few contours and tonal shapes with a flesh tone Pitt Big Brush, restate contour lines in a darker brown, and then drop a bit more flesh tone to bring out the light/shade contrast. A few quick strokes to denote ribs and the model changes posture, but not before I’ve established the posture’s key structural features (minus one leg) and an indication of light source with an emphasis on the implied contour of light-shadow transition, and a couple nods to specific detail, I.e. the face, the elbow, the left hand and wrist band.

            

 

For such an unstructured lad as myself, annual events and the observing of rituals play an important role in accomplishments. Three times a year for the past decade, I have gone to The Palette & Chisel to draw from live models for as close to 12 hours as I can push. I’ve had sessions where I took awhile to get started, some days where I never quite put it together. There were days however where I walked in relaxed but fired up, able to see clearly, having clear objectives yet attentive enough to change course should alternative solutions hold more promise. My ability to hit contours and proportions were prime indicators that things were going well and that the day may be fruitful. Fruitful in so much that I might have learned something if not come away with a satisfying sketch.