Category Archives: Figurative

I strive to render the human figure, our abode of living, tingling consciousness, as succinctly and eloquently as possible. When it’s successful, it’s a communication from my embodied consciousness to yours.

Gestural Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.

Figure Drawing, September 09, 2026

3 minute Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.
3 minute Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.

Drawing from the live figure is inevitably a matter of chemistry. That being said, there are also models who seem to know intuitively what makes for an interesting pose. This night was an example of that.

Gestural Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.
Gestural Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.

The drawings included here reflect the excitement I experienced with the 3 minute poses. I was focused on getting down the gesture with as few lines as possible, while still maintaining proportionality and placement on the page. These are my favorites from the evening.

15 minute Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.
15 minute Figure Drawing 09092026, charcoal on toned paper, 35 x 50 cm.

There were also a few fifteen minute poses which made the grade. I’m posting one. It illustrates a fuller form, still making use of the essential gesture, enhanced by Reilly rhythms and various other tools of abstraction. Still, no addition of shading (chiaroscuro). Just wanna get the figure right.

Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.

Figure Drawing 02-09, 2026

Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.
Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.

Here are a selection of drawings from early September. I’ve been so busy these past few months I haven’t had time to process them!

Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.
Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.

This collection demonstrates a bit of the progression I’ve experienced. In most cases the model has been fantastic: athletic, interesting poses that can be both demanding and inspiring. I’ve consistently tried to interpret the figure gesturally using an economy of line. That occurs especially in the 3 minute poses. So that means continuing the through-line even when a body part gets superimposed over it.

Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.
Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.

For the longer poses, after getting the general placement and proportionality lightly set on the page, then establishing the torso gesture is primary. Its line, or series of lines may continue right through to the legs, arms and head; the balance-line of the shoulder curve, too. Usually, I draw these starter lines lightly, knowing they can be erased later. At this point though, the figure begins to emerge. Then I come back in with charcoal or a heavier carbon line, once I know where something is and what I want to say about it.

Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.
Figure Drawing 02/09/2026. Carbon pencil on recycled paper. 35 x 50 cm.

Also, in this session, I finally began to introduce some highlights using white Conte crayon. It’s something I used to do regularly but have backtracked in order to retrain my dog. I’m not fully satisfied with this latter attempt but it’s defo a start.

5 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

Figure Drawing Brugge, 26/08/2026

15 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

15 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

Last night we had the last of the summer sessions. In the fall, the location, and also the monitor, will switch. Another local artist has now agreed to organize these very democratic sessions: no instructor, no lesson structure, just a model for 2.5 hours and a space to draw him or her.

Nice.

Gratitude.

15 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

15 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

So here below is a selection from the evening’s work. The model was Larissa (“do you know the road to Larissa?”). She’s a venusian, pear shaped woman: thin from the waist up and thick from the waist down. In both aspects rather exaggerated, so she has an interesting form – and she’s a good model (strikes interesting poses and keeps ’em).

5 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

5 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

We had our usual warm up poses – 6 @ 5 minutes, followed by 6 @ 15. I used carbon/charcoal pencils and a kneaded eraser on the smooth side of light brown 35 x 50 cm recycled paper. The carbon pencil makes a gray mark, while the charcoal is black and definitive. Generally, once I’ve made my decisions in carbon, I follow with charcoal.

I did not feel particularly successful as the evening wore one. I felt kinda “Meh”. In any case, I usually just focus on drawing, like practicing musical scales, then I look it all over the next day. I was surprised then, later, to see how much I had recorded (more or less correctly), how a few strokes of the charcoal pencil in the studio could bring out whatever a strong line I wanted to emphasize. Often that was all that was needed. Increasingly, I find myself less dependent upon the model in order to create a “realistic” figure drawing. For me, that’s a huge speed bump!

15 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

15 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

My focus: placement on the page, proportionality and gesture (conveyed by inner graphical constructs). Also, I’m learning how to suggest the volume of a bodily shape through simple well placed lines (in contrast to chiaroscuro). Note to self: commit to a line and avoid the chicken scratch.

5 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

5 minute Figure Drawing 26/08, 2026. 35 x 50 cm charcoal on recycled paper.

Also, I was surprised to see how many drawings I had that were “keepers”. In the end, I had nine(!) – which is a pretty high batting average for me – and very encouraging. My consistency appears to be increasing.

That’s great!

Figure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30 x 50 cm.

Figure Drawing Brugge, July 29, 2026

Figure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30 x 50 cm.
igure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30 x 50 cm.

It’s the summer season, so we have less sessions now than during the calendar year. This means we meet every two weeks – and these alternate with portrait drawing sessions. I’ve been studying the head fairly intensively the past few years, but still, it’s just not my thing. Nothing warms me up faster than figure drawing – and nothing gets me singing louder than plain air painting.

OK.

Figure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30
Figure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30

So last night we had a new-to-me model. Ripped. He could make the simplest pose interesting just because of the way light fell across his form. Also, perhaps because he works out, he had a bodily ease about him that was palpable. Any pose he took felt so good and natural.

Relative to drawing, in general, I am still too slow, thinking before moving: placement on the page, proportion, gesture. Can I capture the overall feel in just one line? What is that line? Often the pose was over before I felt I had truly begun!

The good news is though that I am beginning to draw from memory – which makes me less dependent on the model (that’s huge!!!). If I can get a good drawing down, that blocks in the figure in correctly, then it’s quite possible to complete the highlights and shadows from memory. A few cross-figure lines to suggest the areas for the highlights, shadows, mid tones and quartertones help, but memory does serve.

Figure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30 x 50 cm.
Figure Drawing 29, 07, 2026. Carbon pencil on recycled paper, 30

Here below then are a few catches from the evening. They are all fifteen minute studies. The middle one, in particular, had its highlights and shadows completed later in the studio.

Figure Drawing Brugge, July 1, 2026 Carbond pencil on recycled toned paper 35 x 50 cm

Figure Drawing in Brugge, July 1, 2026

Figure Drawing Brugge, July 1, 2026 Carbond pencil on recycled toned paper 35 x 50 cm
15 minute figure study Brugge, Belgium. July 1, 2026 Carbon pencil on recycled toned paper. 35 x 50 cm

Fantastic model tonight. Willing and interested to do and create interesting poses. He even brought some of his own props. Cool! Thus the drawings selected here reflect the ambitious nature of some of his twists and turns.

Figure Drawing Brugge, July 1, 2026 Carbond pencil on recycled toned paper 35 x 50 cm
15 minute figure study Brugge, Belgium. July 1, 2026 Carbon pencil on recycled toned paper 35 x 50 cm

The graphical schematics I have been learning @ Watts are visible in some of the drawings, too. The spotlighted image above is perhaps the best example of that. What I find so helpful is not only the linear gesture of the Reilly rhythms, but also the mapping of basic geometrical shapes to anatomical features. It helps me to orient. Perspective and placement on the page are a challenge- as ever. I’m told it will improve with time – and practice. Ha! Glad there will be a number of sessions available here this summer for that.

15 minute figure Drawing Brugge, July 1, 2026 Carbon pencil on recycled toned paper 35 x 50 cm
15 minute figure study Brugge, Belgium. July 1, 2026 Carbon pencil on recycled toned paper. 35 x 50 cm

The drawings posted here then are 15 minute studies. They are purely linear studies. It takes me all that time just to get a coherent design down. If and when I can speed up, shading (which I do love), can be added. But why add on the window dressings if you haven’t built the house right?

03-06-26 Figure Drawing. Charcoal pencil on recycled paper. 35 x 50 cm.

Figure Drawing in Brugge 03-06-26

Figure Drawing. Charcoal pencil on sketch paper. 25 x 40
Figure Drawing. Charcoal pencil on sketch paper. 25 x 40

Back in Bruges for the summer – and luckily, the drawing group here has found locations, models and organizers for these months so I was able to greet my friends, jump back in and try out my jet-lagged mind and body.

03-06-26 Figure Drawing Brugge. 35 x 50 cm. Charcoal pencil on recycled paper.
03-06-26 Figure Drawing Brugge. 35 x 50 cm. Charcoal pencil on recycled paper.

Below are a collection from the evening plus a study of a male model on white paper that must have been done last September, before we left. I’ve stashed it into the group. In general, I can see that my drawing memory of Bridgman and Reilly rhythm techniques was rusty but by no means absent. And since I have been active sculpting the human figure the past few months in California, some bit of that fed into this evenings crop.

03-06-26 Figure Drawing. Charcoal pencil on brown recycled paper. 35 x 50 cm.

One thing is pretty apparent and that is the linear quality of the drawings. No more chicken scratch. Watts encourages, straight lines, C curves and S curves. That’s it. I find it makes me committed to whatever line I may draw. The first ones may be light, until I am more sure of the gesture, placement and proportions, but the point is to see and then commit. The spotlighted drawing at the top illustrates some of the gestural Reilly lines that I used for starters. I hope to pick up speed so as to begin to suggest volume. I miss that.

Figure Drawing, charcoal pencil on white drawing paper. 30 x 42 cm or 12 x 16.5"

Figure Drawing, July and August 2025

Figure Drawing, charcoal pencil on brown recycled paper. 35 x 50 cm or 14 x 20"
Figure Drawing, charcoal pencil on brown recycled paper. 35 x 50 cm or 14 x 20″

Open figure drawing sessions usually stop for the summer here in Bruges, but luckily, this year they did not. A stalwart stepped up and volunteered to organize them. So the usual cast of characters, including myself, jumped in. Hooray!

Due to the instruction I have been receiving at the Watts Atelier in Encinitas, California though, my approach to figure drawing has changed – pretty radically. The Watts approach takes you back to basics so you can build up (correctly) from there. No one (who has already been drawing from the figure for decades) signs up for this unless they have become convinced of their (classical-method) ignorance.

Figure Drawing, charcoal pencil on brown recycled paper. 35 x 50 cm or 14 x 20"
Figure Drawing, charcoal pencil on brown recycled paper. 35 x 50 cm or 14 x 20″

So I’ve learned how to sharpen a pencil (seriously!). I’ve also learned how to hold that pencil (double seriously!!). I’ve learned how to create a line firmly and succinctly, without the chicken scratch of hesitation. I’ve learned how useful cheap, smooth newsprint can be (which strangely enough is not available in Europe!!). And yes I’ve learned anatomy, but perhaps more importantly I’ve learned methods of abstraction so as to quickly locate gesture and then turn it into meaningful form and structure. At all this I am still a rank beginner, but every once in awhile, I can see light at the end of the tunnel.

Here are a few of the more successful drawings from this summer. September still beckons with regular sessions recommencing soon at the Hoeve Hangerin. We’ll see what happens.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Figure Drawing, Bruges, October 2, 2024

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Finally, the local artists consider the summer holidays over so that figure drawing sessions here can resume. Hooray!! Personally, I see no reason to stop during the summer but it appears I am in the minority on that one. 😉

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

So we began again. My friend Dominique was our model. At first I felt a little rusty, in the sense that I was too slow, so there were lots of good starts – for a pose that ended far too soon. As the evening wore on, the poses lengthened and I warmed up.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Here then are three keepers. My favorite is the spotlighted one above (available only in the online view). I like it because I feel that with this one especially I was able to get inside her pose and describe it from the inside-out. Yummy. The anatomy I have been learning this past year truly kicked in. It helped me to locate the important structures, to provide emphasis to the dynamic thrusts of her gesture: leaning against the wall with a protruding abdomen.

And I realized later that the importance of the intellect in figure drawing truly is outside the session. There you do your homework – so that in the moment, with the figure, you can truly let go – yet in an informed way. That’s craft. And in many ways all that (craft) has nothing to do with your ability to feel. We all feel, some perhaps more intensively than others, but when craft and feeling come together, yum, IMO that’s when the magic happens – and also effective aesthetic communication.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Figuur tekenen, figure drawing, June 26

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Tonight was our lest session of the season. Here in Europe people really do take the summer off – and it pretty much follows the school year. So, end of June to the end of September.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Our model tonight was Dominique. She sat for us a few weeks ago. Since then we have become friends. Nice.

In terms of approach I  decided to keep with my new attempt to integrate the highlights quickly after laying in the figure. It’s often the case that I have about two minutes to do so, but if the figure is right the placement of the highlights takes no time and even less decision making.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Here are a few keepers of the evening. So for now, relax, enjoy and have a great summer!

figure drawing on recycled paper, 35 x 50 cm

Figuur tekenen/Figure Drawing, June 19, 2024

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

I spent the afternoon out in the field working on a new landscape watercolor, so I was really tired but also artistically lubricated by the time the weekly figure drawing session rolled around. Nice. Thus, after a few warm ups – and getting a more or less intelligible figure down on paper – I felt inspired and ready to jump back into laying in the highlights quickly (the way I used to do) but now also (at least hopefully) more accurately.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

The three minute poses were still too incomplete – I’m still too slow. That will come, but for now, nothing to see here. I’m far more interested in getting accuracy first.

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Fifteen minute figure study. Charcoal pencil on toned recycling paper. 35 x 50 cm

Anyway, our model tonight was a fellow we had about three weeks ago. His body is remarkably easy to read. I found myself joyfully discovering, first and foremost, the thoracic arch and the pelvis, the two (fixed) bookends upon which the torso rotates. That’s basic Bridgman – and I really appreciate it. From those landmarks the rest can follow: abdomen, external oblique (the “love handles” – not that this fine fellow had much to grab), clavicle, acromium process – and all that’s just the torso. The limbs extend from there. Here then are some keepers from the evening.