Thursday, June 28, 2007

I'm finding the two minute poses are getting a bit easier. I'm getting much faster and can do a better job of getting in some of the details. I like one minute poses - I draw fast gestural drawings and sometimes they work better for me than something I labour over. I've heard that some people can capture a likeness in that sort of time - that they practice by sketching from the tv news. Phew! I wish.
6B pencil on paper. Two minute pose.

jun28-3-2007The coloured paper I'm using is quite soft - I'm still working out what methods of applying the colour will work, and which will not. In this drawing I wanted to explore some of the green and blue tones - I struggle with drawing warm skin tones in cooler colours. By layering in the colours I get a result I can tolerate. Only another 100,000 (or so) drawings to go...
Coloured pencil and aquarelle on coloured paper. 20 minute pose.

I got a bit distracted drawing this 20 minute pose - I could've done with another 20 minutes. I like the warm colours - rose. One of the things I find interesting is once I've reached a good drawing state I notice a 'flat' surface - like the model's back - is not flat, there are some shapes and depressions. And then there are more - and more. Suddenly an apparently flat surface with not distinguishing features becomes this fascinating landscape of subtle colours, textures, and undulations; oh, and then it's "two minutes more in this pose..."
Coloured pencil and aquarelle on coloured paper. 20 minute pose.
Foreshortening - the bane of most artists life - no wonder portraits used to cost an arm and a leg - I'd charge extra for them as well. 20 minute pose, aquarelle on coated paper.

Tuesday, June 19, 2007

how to sketch a portrait

animYou can have fun drawing online at BenettonPlay. This is a 35 frame animated gif. The whole process is managed through a Flash 9.0 application. I suspect given how long it took to save and render that if you've got dialup and an old computer try the 5 frame animations. My prototype was 100 frames. Um, everything died. It is fun, and the results are easily achieved, albeit slowly. I particularly liked the 'onion-skin' approach as this allows for quite accurate animation and tweening, if that is your wish. I didn't need it for this anim, but it's good never-the-less.

Thursday, June 14, 2007

Hmmm - no really, although we draw at 5:30 the model didn't have a 5 o'clock shadow. Grrr - still working out how to keep the paper from going muddy, and keeping the colours incisive. There's not much room for error. Coloured pencil on coloured paper.

Purple. Good grief - purple? Hey, if it was a long-lost Picasso from the blue period you'd be excited. Of course, Picasso would've drawn with greater clarity. Even he started somewhere though. I'm quite enjoying the experiments of adding darker and lighter tones over the mid tones. It feels like a whole new area to explore. Coloured pencil on coloured paper.

I feel as though this new season of life drawing is really starting to work for me - the big break through, he said, feeling slightly stupid about the whole thing, but pleased nevertheless; is being able to keep the model on the page. If nothing else, the drawing stays on the page. I attribute this to the more sophisticated and experienced Wellington models. Coloured pencil on coloured paper.

Thursday, June 7, 2007

I'm working on capturing likenesses. It's still an exciting opportunity for improvement. Not only would nobody recognise the model from this drawing, the model themselves would disavow all knowledge of the experience. 10 minute poses don't enhance themselves to me - I still have a long way to go. Aquarelle on glossy (clay coated?) paper.

Coloured pencil on coloured paper. 20 minute pose.