One of the aims I had for this course was to get more confident in my drawing, and for this to become more instinctive for me. I have enjoyed as part of that exploring the one line drawing style of Calder, but here follows some more descriptive drawing that I have completed first in a recent workshop, at a life drawing class (my first!) and a cast study I did in the RA recently.
Here we were given a few hours to really study and work into our drawing – I had not before used this technique of building up a layer of charcoal to begin with, but I enjoyed how this made the process somewhat more malleable – it was forgiving to making adjustments along the way. I enjoyed also using chalk and different charcoals to add further depth and texture here. I found it difficult to get the perspective quite right on this and I think the top of the foot (the concentric circles) are not as occluded as they ought, but I am overall pleased with this work.
I chose this slightly altered pose for the object so that I could focus more on the interesting texture and tone of the top of the foot (the more interesting element for me). I felt that otherwise my work would be too generalised to warrant the length of sitting!
I enjoy working with charcoal for the responsiveness to weight and immediacy you have with it.
I enjoyed the life drawing class, though found it very hard going! Working at pace in quick succession was quite the challenge. I enjoyed experimenting with the soluble graphite stick (which I had not previously used) for the tonality you could achieve quite quickly and the sketchy quality you still achieve. I am most pleased with the 10 x 2 min sketch charcoal piece though. I think this allowed me to release my inhibitions somewhat and be more confident in my lines firstly since there was a time pressure, and secondly since I knew that in overlapping them any ‘errors’ might be obscured. I enjoyed in this experimenting with dynamism and scale and the more successful elements are towards the bottom of the work I think where you see the legs. I’d be interested to try this approach again but using the one-line drawing method.
I am pleased with the tone in this piece, though I think here too my perspective could have been refined (i.e. more hunch to the left side/proximity of the torso to the thigh). I perhaps self-edited here once more and did not fully capture the tonality of the genital region..! I was a little conscious of being in public at that point.
As I was leaving the Collection having completed my study of the torso, I was struck by this painting for depicting what I had just done myself!
I was particularly interested to read here that women were not allowed to draw from life at the time of this painting, and so had to study from casts of classical sculpture. This would certainly have been a hindrance to the development of their craft. I would be interested to learn more about the challenges women faced in art history and the broader picture of why they went unrecognised.