Our model tonight was an old favorite, Melissa: the lady who disrobes but retains her glasses. She has an interesting hourglass shape, thin above, thick below. I tried a few drawings on gray paper with sepia chalk but they weren’t taking off. Then, when I switched to sepia paper with burnt umber chalk, they did. Sometimes you just have to switch it up. The featured image here above works, I think, because there is both form and light: there are highlights (and super high lights), mid-tones and shadows.
Below three fifteen minute poses. Conté pencil and crayon on Canson pastel paper. 32.5 x 50 cm or 13 x 19.75 in.
Two four minute studies. Black charcoal on tinted sketching paper. 35 x 50 cm or 13.75 x 19.75 in.
Tonight, one of our regulars, Lisa, the lady with glasses.
A few turned out well tonight, or shall I say, more keepers than last week. One more week of jet-lag under may belt. My feet were less numb, my body, in general, more responsive. Below, three fifteen minute and four four minute poses.
Of the three fifteen minute poses, the spotlighted one is my favorite. This one is interesting (I think) because it includes five different colors: charcoal black for laying in the figure, pastel yellow and pink for the highlights, sienna to accent the warm bodily midtones, and umber for the shadows. Not bad for fifteen minutes. If I had had a few more, I would have added in some white highlights. Can’t do everything.
Conté pencil and crayon on tinted pastel paper. 32.5 x 50 cm or 13 x 19.75 in.
Four four minute poses. Charcoal on toned sketching paper. 35 x 50 cm. or 13.75 x 19.75 in.
The model tonight was a large, overweight woman. I find these kinds of bodies really exciting to draw. There is a massive quality to the form, weighted, earthy, the groundedness stimulates the muladhara chakra. So here below, the evening’s catch.
On the fifteen minute poses, I think the most successful are those in which I had the time to add in a few touches of extreme highlight. These white highlights do not need to be many, but they function in important ways to set the dynamic range. But these extreme highlights can only be correctly placed after I have already set the figure and begun to suggest some of the chromatic values on the toned paper: there is not always enough time for all that in fifteen minutes.
Four fifteen minutes poses: Conté crayon on toned Canson pastel paper. 32.5 x 50 cm. Or 13 x 19.75 in.
Three four minute studies: Black charcoal on tinted sketching paper. 35 x 50 cm. or 13.75 x 19.75 in.
Our model tonight, Lisa. She is one of our regulars. Turns out, she works as a nurse and the days that she models for us are long days since she has to get up at 4:30 to get to work(!). We had a nice chat at the break as she puffed on her electronic cigarette. Here below a few fifteen minute poses and some four minute ones, too.
Fifteen minute poses.Conte crayon on tinted Canson pastel paper. 32.5 x 50 cm. or 13 x 19.75 in.
Four minute poses. Black charcoal on tinted sketching paper. 35 x 50 cm. or 13.75 x 19.75 in.
Tonight, with Eva, one of our regulars, the Indian girl (whose skin color I find challenging). But this time, she had a more challenging night than I and was a little dizzy during some of her poses. So we all had to slow down and adjust, to accommodate her situation. It’s just like that sometimes. We are no slave drivers (thankfully so). And yet some figure drawing session organizers can be more stern and unforgiving. But certainly not Bruno. So we had a nice chat at the break as she gobbled down a quick snack to help balance her energies. Hope you feel better, Eva!
Two fifteen minute poses. Conté crayon on tinted Canson pastel drawing paper. 32.5 x 50 cm or 13 x 19.75 in.
Three four minute studies. Black charcoal on tinted sketching paper. 35 x 50 cm or 13.75 x 19.75 in.
The model tonight was fantastic. The second time I remember drawing him. He’s really good because he seems to know intuitively what to do. However, even though the model can be fantastic and I resonate with him/her, I can still have a mediocre evening. Tonight was that way, principally, I think due to my own state, as I was not feeling very well. Even in such cases, it’s always good to go out and try, and see what happens.
Two fifteen minute poses. Conté crayon on Canson tinted pastel paper. 32.5 x 50 cm or 13 x 19.75 in.
Four four minute sketches. Charcoal on tinted sketching paper. 35 x 50 cm or 13.75 x 19.75 in.
Tonight we had one of our regular models, Lisa (or possibly Melissa?, I might have previously misheard her name). Anyway, she’s a good model – and was in her chops tonight. What makes a model good? A feel for interesting poses – and of course – the ability to hold them. What makes for an interesting pose? Well, a little bit of twist goes a long way. It’s not necessary, but if over an evening of about 15 poses there’s not some definitive variety of movement in the torso I have a hard time. (You’d be surprised, some models just move their hands a little for a new pose and think it’s sufficient for generating interest!).
So Melissa was on. She has exceptionally thick hips and thighs (the elephant woman!) and always wears her glasses (the glasses lady!). And I had a good (chakra) night too – the tactile warmth and energy of chalk and pastel on the paper fed into my searching circles, allowing the figure to slowly emerge. I definitely had some throw-aways but amazingly, many of the drawings turned out well. The final drawing of the evening is the featured image here at the top of the page. From my position, it involved direct foreshortening – which is always a challenge – but tonight I just let the chalk follow the sensuous curves. Hooray for bio-feedback!
Five fifteen minute figure studies. Conte pencil and conté crayon on tinted pastel paper. 32.7 x 50 cm. or 13 x 19.75 in.
Four four minute gesture studies. Black charcoal on tinted sketching paper. 35 x 50 cm or 13.75 x 19.75