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.
A fairly quick wash-in experimenting with interactive acrylic paint, I found it very freeing to splash around with water, rather than turps or mineral spirits which are both costly and toxic, and to be able to reactivate the paint when touch dry, more like oils. I’ll continue to play around with this medium to find out how it performs in other ways.
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?
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.
The cut-out effect is the result of photographing the drawing in poor lighting, which made the whole thing a bit grey, then erasing the background area in Photoshop to lighten it.
I’ve sometimes done this on previous posts to clean them up a bit around the corners but it’s more obvious and deliberate-looking here, and I like how the soft grey links the three individual poses together to create an apparent group of figures.
So, having said I might like to focus a bit more on the head what do I do here? I leave it really vague and instead get all involved in the fascinating contrast between the light and shade on the shoulder and torso until the pose is over and there’s no time left. What can you do? To me the head just wasn’t the most engaging aspect of this pose, in fact it seemed almost invisible, as if a veil of light had been thrown over it obscuring any detail.
I let the proportions get a bit out of hand here and was conscious of working quickly and relying on the values and the dark wash to do the work and make an impact. So now, without reference to the model, I can’t be sure where it’s all gone off, but the left leg certainly looks way longer than the right.
I think I need to concentrate on some disciplined measuring in my next few sessions to bring my eye and hand back in. They’re slipping!
The day I made this drawing I got into a bit of a wrangle with another club member who thought I was taking photographs of the model. I was changing music tracks on my iPhone during the drawing session and she misread my actions. She was right to question me. I too feel strongly that it’s an absolute no-no to photograph a model without his or her express permission and co-operation, and ‘no photography’ is an important club rule.
I do enjoy listening to music though so I’ll have to remember to turn away from the model whenever I want to change a track!