Monday, July 28, 2014
I'm finding that forcing myself to work in pure line for the first part of a working session sharpens up the full tonal studies on the later longer poses
Knowing about body structure is a real asset in drawing people. From August 18 - 22, I'm teaching a 5-day intensive course on anatomy as it applies to figure drawing at the Toronto School of Art. If you're interested, you can get more info and enroll through here.
Sunday, July 27, 2014
Saturday, July 26, 2014
Wednesday, July 23, 2014
Marlo was working, and these are all in the 30-minute range. The top teo ware watercolour pencil used dry on Strathmore series 400 paper. The lower two are water-soluble pencil and artgraf washes on 18 x 24" sheets of Canson Montval watercolour paper.
I like that I can draw in some background information and then wash it over to make it much softer and softer-focussed (and shade back over to bring back any elements I want to draw focus to, as well.)
It's on 18 x 24" Canson Montval watercolour paper.
It was a bit of a goofy, anarchic drawing session, and fun. I'm not a huge comics fan these days, and enjoyed the costumes more for what I saw as a fetish-y edge than for any sort of DC comics connection.
Tuesday, July 22, 2014
Monday, July 21, 2014
Sunday, July 13, 2014
I'm still wrapping my had around the square format when I do try it. Some situations, like sitting and foreshortened bodies work fine, but there's so much empty space with a standing or reclining figure, so i've cropped many of these studies down quite a bit. (Which is true of many of the ones done on 18 x 24" sheets as well.)
Saturday, July 12, 2014
All are Pitt calligraphy point marker on 17 x 17" sheets of Canson Recycled Sketch paper.
Friday, July 11, 2014
Pitt calligraphy marker on 18 x 24 Canson Recycled Sketch paper for the top two and Graphite water-soluble pencils/Artgraf graphite washes on the lower one.