A recent life drawing from The Palette & Chisel of a model I hadn’t drawn before. Liked her funky style and the fab braids. I believe I worked on this drawing for almost two hours. Pitt Artist Pens on toned drawing paper.
Some drawings from Friday’s life drawing session at The Palette & Chisel. Some of the nude models and some of the artists. Pitt Artist Pens on Toned paper.
Pitt Artist Pens on Toned paper.
I seldom walk thru the door of the Palette & Chisel certain I’ll have a strong day drawing. I generally know if I’m to struggle with the need to either relax or bear down. Nice when you can manage both.
 I enjoy watching people at work. Over the last dozen years or so of going to life drawing sessions, I’ve turned my attention to the artists as they ply their craft. While not completely still, their movements are generally gradual enough to catch the gist of their posture with the added challenge of frequent adjustments. An artist standing at an easel may back off with some frequency but even those seated upon the bench know as a horse might need to shift to relieve pressure or numbness. I draw with ink so should the artist move significantly I either begin a second drawing or incorporate the new position right on top of the drawing in progress in the manner of pentimento. I’ve dropped into life drawing sessions across the country, but the primary place I work on my nude figure drawing chops is the venerated Palette & Chisel.  Some of these artists I’ve worked alongside for years such as my friend Misha, who hails from Minsk, Bielorussia where he studied art as a young man. A wonderful subject in his own right he is very dogged in his approach taking glimpse at the figure before working with a long practiced surety. Others rapidly look back and forth between page and subject. One in particular, Bodo, very actively tilts his head left to right while quickly looking up and down and working alternately on different sections of anatomy making him one of the more challenging to capture a likeness of. Mary Qian, seen in baseball cap and in the final drawing, frequently looks thru a pair of binoculars to help her with detail.
Medium used: Faber-Castell Pitt Artist Pens, various Fountain Pens, Platinum Carbon Ink, deAtrementis Ink, Pentel Brush Pen, Tomoe River Paper, Hahnemühle sketchbooks, repurposed ledgerbooks, Stillman & Birn sketchbooks,
Going to life drawing means that unlike a great deal of sketching I do out in public, on trains, in cafes, and among people just going about their day; my subject may actually hold still for a known amount of time. That said, I still dig drawing the constantly moving artist, even if their movements are slight and return to a similar position.
 
 
 
  
 
 
 
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