Tagged: life drawing


Stopped in yesterday to the Palette & Chisel where the model for the morning session didn’t show up. The artists present took turns posing.
For the afternoon session however, a new model came for her first time posing at the P&C and being warmed up from the morning session I had a fairly decent time drawing. I was relaxed and though the pose was simple, I found it quite regal in part due to her hair.
     WordPress used to be a decent platform that had in the past been very helpful to me and other artists in gaining exposure on the internet and developing relationships both personal and commercial. 
But now it is just trash. Slow, sluggish to use, forces users multiple failed attempts to simply download images. The expectation is that if you struggle enough, you’ll give in and pay exorbitant fees to have them help you navigate the bullshit SEO labyrinthine mess they created. The artist job is to create the imagery and stories. That should be it! Hastags were simple enough but must have been too efficient and didn’t make them enough $$$$.
I have tried several times to add some more images from my files but with little sense or explanation, I’m having to close and reopen the site. Sometimes that works, sometimes not. Having invested more than a dozen years on this site I can only say it’s being guided by pirates and creeps who provide a sub par service to users.

 

 
Dropped down to the main gallery at the Palette & Chisel after a morning life drawing session, to catch my friend Larry Paulsen give a demo on how he approaches portraiture with watercolors. An excellent draughtsman with a career of doing storyboards for film behind him, Larry now teaches at Chicago’s Palette & Chisel Academy. His classes are packed. Colorful as well as assured in his line work and  minimal layout, students are treated to clear and in depth description of process and the reasons for his approach. They’re also treated to a fare share of wisecracks and engaging stories about artists and their idiosyncratic methods.



the following sketches were from my morning studies that day.

 

Larry Paulsen’s Demo

Keep getting the message that this is a craft that requires constant, regular attention. Minus the daily commitment, the rust sets in.

      I don care how long I’ve been at this,   may have s baseline of ability, but it’s sub peak performance if my time commitment slides below 4-5 hours a day with daily activity.  
  This last page of two reclining figures is an example of how my anatomy is not sharp. the eyes on the yop, light skinned woman were too high up on her face and attempts to lower their appearance just thickened them but still dew her face out too long. Also her neck claviclar area was rich with structural information but I came up dhort there as well. 

The bottom figure is a rubbery mess.

 
Having gone to the Palette & Chisel for well over a decade, I’ve seen and drawn my share of models sitting in a chair with grey fabric draped behind them and way over lit. So I actually enjoy drawing the artists in the studio at work. They constantly shift, some leave early and I find the array and cluster of them far more interesting.
Draw with the usual tools I’ve been using for years.

 

I’ll admit some of my pages are quite the train wrecks. To wit: the first scan.
To those of you who’ve borne witness to my sketchbooks and been surprised to see the spectrum run from chicken scratching to clusterf@kkery, allow me to explain.
There are times when describing how I begin or develop a drawing to another artist, or student, the sketchbook is my podium, and I jot down my thought process right there, on the spot, in full view of another’s retinas. Not wanting to be ‘long winded’ as it were, (I realize, THAT runs against expectation), the doodles are pretty much whipped out and at times very much short of grace.
The 2nd and 3rd images are minimal, yet clear enough to get the point with the sketch in blue ink on yellow ledger paper showing the progression of a bent over figure, derived from a modeling friend on the left to the imagined scenario of a fight on the right.
 
 
After that we see a very cursory sketch of four people in green about a table with indication of an implied horizon line for POV. Pretty quick and loose in light green with follow up line work in black to give a tad more clarity, as in,”Okay, there you have it. Now y’all get started and let’s see where you take that in 30 minutes”.

Next up….uh oh, it appears Don not only displayed how to do a loose layout in a light Umber color followed up by dropping black marks on top to strengthen form and pull near features out of the background, but perhaps a touch of impatience also, eh?

Two more images show our pedagogue starting to use the same page for multiple lessons. Hang on tight, this could get confusing.
 
Now we come to a diagrammatic sketch of a bush. That’s more like it. Focused, with sufficient development to explain the incorporation of simplified geometry, developing form by building values, awareness of light source, and enriching surfaces with varied textures.

And after that…oh dear, he’s back at it, certainly demonstrating some of his trickier palm print for leather techniques, but those moire hatching patterns could mean our boy is adrift on one of his tangents again.

Thank goodness he’s returned to a simple  linear layout of a house, I guess, and some kind of…like…machine-ishy gizmo whatchamacallit. We’ll like the text says, I guess you had to be there.

Now the blue panorama of the cemetery should be as self evident as the kid can get. Start light and general, work towards the specifics and develop the values. This was actually done, on site, for the benefit of a class. But you’d have to poll the class to get second opinions about the benefits passed along.
So the six sketches that follow demonstrate one thing in particular. That I loathe wasting good paper. The question of the merits of any given drawing here being set aside for the moment, I often go back into my demo pages, especially the minimally developed and sketchier ones and start to reuse, or repurpose, or transform, or crowd ‘em up. Especially if I’m on a bus and I’m frantically flipping thru the book to find the space to drop in a passenger’s head. Like the bearded dude’s noggin.
It can get pretty disjunct.


Occasionally, I’ll drop a drawing on top of some sketches that were minimal or light enuff that any early meanderings got incorporated into the whole with little evidence of pentimento, or prior being. Kinda the way I feel about reincarnation. With all the new input and distractions and constant jazz and extrapolating forays, how are you ever gonna recognize your way back to your old self.
Hunh?????
Mmmm, last up is a page that seemed to have begun one journey, jumped track, and rode away on an obsessive tangent.
 
 
Drawn with various medium such as fountain pens using Platinum Carbon Ink, DeAtramentis Document Black and Brown Ink, Faber-Castell Pitt Artist Pens, Polychromos Color Pencils, Gouache, and White Grease Pencils on ledgerbooks, and Clairefontaine notebooks, Goldline Watercolour sketchbooks, Stillman & Birn Nova Series sketchbooks.
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