Sunday, September 29, 2013
Friday, September 27, 2013
The last two studies that day were 30 minutes and 45 minutes respectively. The top one is Pentel brushpen on 18 x 24" Canson Recycled Sketch paper. The lower one is water-soluble graphite on an 18 x 24" sheet of 150 lb. Maidstone paper.
There is overworking in each, but I continue to be interested in the pictorial possibilities the graphite has. A little more than 40 minutes continues to be the optimal time; long enough to not rush, but not long enough to over-render.
Wednesday, September 25, 2013
here and save $40 in the process!)
On the Sunday Morning, Jimmy was working at the 519 Community Centre session, which runs 10 - 1 once monthly, on the 2nd Sunday of the month.
These are a couple of 3-minute studies, a 5-minute one and a 15-minute one. The top three are all Pentel brushpen on 18 x 24" cartridge paper, while the lower one is the same pen on 18 x 24" Canson XL Drawing paper, with brushpen and some misted india ink on the paper.
Monday, September 23, 2013
here (with a discount...) , but do so before Thursday to assure a place!
On the Saturday afternoon I headed over to Artists 25 to try some more experimentation with water-soluble graphite. I had ideas of doing two 1-hour studies, but one ended up using the majority of the available time. The top study is a 1.5 hour one, on an 18 x 24" sheet of 150 lb. Maidstone paper. The lower one is a 15-minute study on a 12 x 18" sheet of the same paper. It's interesting to see how the medium handles, fast and slow.
Friday, September 20, 2013
I'll be at booth J31, facing west towards the Community Centre in Trinity-Bellwoods Park, from 11 - 6 daily - hope to see you there!
The top three of these are on 18 x24" sheets of Canson Recycled Sketch paper, and the lowest one is on an 18 x 24" sheet of Canson XL Drawing paper. All have been prepared by masking areas and misting with india ink beforehand. Depending on placement and how things interact with the figure, this approach works more congruently with some images than others, but that's part of what's interesting, and does soften the sharpness of the crisp black lines.
They are three 15-minute studies above, and a 20-minute below, all drawn with a Pentel brushpen.
Wednesday, September 18, 2013
On the Saturday morning Carmina was working at the Sackville drawing session (east end, in the Daniels Spectrum building) and I was continuing to experiment with some prepared papers. I had two variants on an `xyz axis' intersection, one thicker and one thinner. I was wondering if it might evoke a sort of stylized architectural space.
These are 10-minute studies, done on 18 x 24" sheets of Canson Recycled Sketch paper with a Pentel brushpen. Using the area of misted india ink as the drawing area within the paper is interesting, rather than letting it interact more randomly with a full figure. The shapes of the pose suited that on this one.
Monday, September 16, 2013
TSA, I will be showing work - including some of these figure studies - this weekend at the Queen West Art Crawl in Trinity-Bellwoods Park. I'll be in booth J31, facing south-west towards the Community Centre building.
And, in more park-themed news, come do some outside figure drawing this Wednesday afternoon from 2:30 - 5:30 at Dufferin Grove Park. It's a PWYC session - just bring paper, something to sit on, and warm layers, just in case. The session will happen at the TSA if it's raining.)
... as for the studies here,
These are two 7-minute studies up top, three 10-minute ones in the middle and a 15-minute one below. All are on 18 x 24" sheets, the top 3 on cartridge paper, the next two on Canson Recycled sketch paper, and the last on Canson XL Drawing paper. The bottom three had areas misted with india ink beforehand.
The Gladstone sessions music continued to throw me at times. I can draw to almost anything with a steady beat, but fast-paced and staccato music is for me inimical to focused contour drawing, especially when it is unfamiliar. This time it was also old cassettes with stretch problems, so tempo was wavering. A cassette of organ music which, with speed issues that sounded like skating music from a David Lynch acid trip was a source of overall mirth before it was mercifully ejected. After that, a pianist I don't know was playing a very lively version of a Miles Davis piece off Kind of Blue. The driving boogie-woogie piano playing in it had just too strong a rhythm, and for a while I abandoned trying to draw Paris and just made marks in time to the music.
I wasn't coming to have a breakthrough/breakdown into non-objective drawing. It's not an entirely bad thing doing that, as that can be freeing. By the end I had settled back, and maybe, despite a smallish head, the last study is better for having been shaken out of my usual groove.
Sunday, September 15, 2013
Paris was working that night, and these ate some 3-minute and 5-minute studies, done with brushpen on 18 x 24" sheets of cartridge paper.
For the 5-minute ones I was getting reoriented with the specifics of Paris' head and face. I find the first part of any session is a process of easing into a connected working headspace.
Thursday, September 12, 2013
I'm feeling optimistic about the way that these allow for much of the fluid freedom of the Copic pens, but with a bit more grain and are lightfast, too.
Wednesday, September 11, 2013
On the Sunday morning Polina was back in working. I was a bit slow getting some sheets of paper and other materials prepared for the day, but came armed with some pre-sprayed sheets of paper. All these are done with Pentel brushpen in 18 x 24" sheets of paper. The top one is on cartridge paper, the next three on Canson Recycled Sketch paper, and the last one is on Canson XL Drawing paper.
Tuesday, September 10, 2013
All these are done on paper I had prepared by masking some areas and misting with india ink. All are done with a Pentel brushpen. The middle two also have some warm gray Copic marker.
The fourth and last ones are on 18 x 24" sheets of Canson XL drawing paper, and the others are on 18 x 24" sheets of Canson Recycled Sketch paper. For wetter media, I'm finding I prefer the slightly heavier XL Drawing paper. Ink spreads a little less, and a partial misting doesn't cause the paper to buckle, which can happen with the thinner Recycled Sketch paper; the areas that get dampened expand slightly, but the adjacent dry masked areas don't, so the paper can pucker right where they meet.
On this blog I present much of the figure study I do, to document the process and the ups and downs that can happen within one stretch of drawing. It would be great if everything worked out to full satisfaction, but that's not how it works, at least for me. I like the top two, and the horizontal banding works quite well on the lying-down figure. The third from bottom is a little over-rendered in Jen's face. The drawing of her face in the sitting pose below it overwhelms the rest of the drawing, which presently has no chair rails, which doesn't work so well here. In more pure line drawings, economy of description in faces is a wise idea, but I am constantly tempted to put in a little more.
The standing figure worked well for me.