Sunday, October 31, 2010
After a set of 1-minute poses (only one study of which is worth posting,) we settled into some 15-minute poses for the balance of that night. I was srtuck by the play of light in the surrounding space in the final pose, so I consciously left a lot of P- 's figure open, and set in some of the background.
Generally, I leave the studio space undrawn, for two reasons. One being time constraint. The other is that I don't find it a particullarly resonant space visually. I love the feeling, the ambience of drawing studios, but the TSA space itself is cluttered and arbitrary in ways I haven't felt like trying to integrate. I don't feel it adds to the body I am representing.
But that does beg the question of what ambience would...
Saturday, October 30, 2010
Friday, October 29, 2010
Thursday, October 28, 2010
Wednesday, October 27, 2010
These are 10-minute studies.
This is totally off-topic of drawing, but I'm busting with pride over my illustrious dad making a bit of news. One of the influential theatres that he helped found, the Manitoba Theatre Centre, has been assigned a special honour. You can get all the details here.
Tuesday, October 26, 2010
Monday, October 25, 2010
Sunday, October 24, 2010
Saturday, October 23, 2010
Thursday, October 21, 2010
These are two 20-minute studies that ended the evening's drawing. The last one was, in my estimation a fairly good likeness of D- . All in all, it was a fairly good drawing night.
D- 's good work and presence was an important factor, plus I was no longer at all preoccupied with the upcoming Nuit Blanche event, which probably freed up some psychic processing space.
Wednesday, October 20, 2010
After a break, we continued with some more 1-minute studies and a couple of 15-minute ones. The drawing went well in these, and in all likelihood the challenge of working in an unfamiliar scale helped with that, by getting more of my brain in gear.
One of the attendant risks of doing something a lot repeatedly is that it becomes a rote process, and loses its freshness. But at some point it's easy to get invested in something that works, and to settle for the payout that repeating that in a known way will likely assure, rather than take the chance of spoiling things.
While I am very aware of that, I have to admit to wanting a certain comfort level, a certain security of results as a way to maintain confidence. If I get to a point of satisfying that confidence (which usually takes a fairly heavy saturation of working within my comfort zone) then I start wanting to mix things up more.
though ironically, it is by taking chances that I suspect even the baseline work gets richer.
Tuesday, October 19, 2010
These are all 10-minute studies.
The head study was a little unusual. I start almost any drawing of a person with their head, and add as much more of their body as the time remaining permits, once I'm satisfied with the head. Accordingly, I've settled into a small scale to draw the heads, to allow room for a full figure. I am aware, though, that more often than not, it takes most of at least 10 minutes for me to get the information down about a face. So rather than work at a cramped scale, this head filled about half of a 24 x 36 sheet of newsprint. The proportions went a bit out of whack, but it has some okay bits.
Predictable results can ensue from keeping all the terms of working consistent (size, workplace, materials, etc), and can allow one to push to ever-deeper subtle incremental improvements. But it's always a good challenge to switch around scales and materials, to keep freshest and most versatile.