Between the lines

A3: Charcoal and wash

I was more deliberate about the design of this than I usually am when drawing one pose on top of another.  I included straight lines suggested by the interior of the studio as a deliberate contrast with the organic flowing contours of the model. By extending washes into some of these more abstract grid lines I was aiming to break up the composition further and increase the general ambiguity and transparency and the blurring of apparent boundaries between body and space, self and other…

Big man crawling

A3: Carbon pencil on paper

By taking the figure beyond the frame I was aiming to convey a sense of his size and weight and a feeling of slow or restricted movement.  The wet carbon pencil is bold.  It makes fat black indelible lines and there’s no going back so it feels more risky than a soft malleable medium like charcoal. I’m pleased with how it turned out.

Left to right

A3 Charcoal and wash on paper

I felt tired and niggly and was ready to pack it in and go home but thought, as the model was making the effort, that I’d give it one last go!  So I let myself off the old expectation hook by drawing mainly with my left hand which pulled me out of the doldrums into presence and the joy of simply looking and drawing with nowhere to get to.  I think this pleasure shows in the end result which has a loose kind of freshness about it.

Rare features

A3: Charcoal & wash on paper

Returning to drawing media after the oil wash-ins I feel the influence of the painting approach on my drawing. The tonal washes are bolder and looser and I really enjoy combining the line and wash like this.

And I even put in some facial features. Which is rare.

Great unwashed

A3: Charcoal on paper

So of course I ran away and headed back to the other extreme. Apart from the hair not a wash or tone in sight. Safe ha ha! Big guy this model…could only just fit him on the paper. Not very happy with that toe just touching the edge so the foot is neither in nor out. I usually place the model inside the edges, but letting part of the figure stray right off the paper has a great anchoring effect and makes for very interesting compositions. Something else to practice… American artist Richard Diebenkorn was a master of this. I’ve been a fan for a very long time. Here’s an example: