Another exploration with interactive acrylic and ‘drawing with a brush’. Here there was time, about 50 minutes in all, to introduce white with the umber and go beyond a basic wash-in to add a little loose modelling on the back and a touch of detail in the profile.
This is a very quick value study going straight for the light, middle and dark tones and their relationship to each other across the figure and through the space. Very immediate using a big brush with just white and umber acrylic paint…strong daylight falling onto the model from the studio window…and little time to think! Is it a painting…or a drawing in paint?
Here’s a bit of full-on foreshortening to kick off the New Year!
After a long break of no life drawing since summer I treated myself to four full days of intensive untutored practice last week, so I feel like I’m just about back in gear. And what an excellent way to spend that time between Boxing Day and New Year’s eve!
I enjoy the challenge of foreshortened poses and with this one it just seemed right to emphasise the length and movement through the body by framing the head fairly tightly into the top corner so the model’s torso and legs seem to unravel and extend down the page…or is she maybe curling up…or turning over?
I’ve taken a break from life drawing for a while and have been painting, mainly figure paintings but also landscapes, and now I’m almost ready to come back to this. I never intend to stop but my pattern seems to be to draw regularly for a few months and then have a few weeks off. So far I’ve always come back to it with renewed enthusiasm…
Meanwhile this drawing is one I did earlier. The diagonal pose goes off the page anchoring it to the edges of the paper and I like sense of the light coming in from the right and the dark shadow on the left emphasising the weight leaning on her right arm.
In an attempt to turn poor lighting conditions to advantage I deliberately under-exposed the photo of this drawing to make it all a general grey and then quickly erased most of the background in Photoshop to whiten it and leave the figure blocked in with an overall tone.
As a result this image is no longer true to the original drawing, being a combination of natural and digital media, but there’s something interesting here about ‘mistakes’ working if they look intentional and making the most of happy accidents to create something new.