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| Jenny Saville |
Tuesday, 16 April 2013
Life Drawing- Week 8 & 9, Thursday 14th & 21st March 2013
For the last two sessions of life drawing, we were able to have the freedom to choose how the model posed and the lighting. Whilst also choosing our preferred medium, in the first week I concentrated on producing an accurate pencil, and then in the following we using watercolours to show the tonal and colour times produced by the spotlights. As I had stuck to my usual tendencies in producing a very accurate piece. In the second week I also produced an A1 acrylic painting with impulsive brushstrokes, linking to the works of Jenny Saville.
Life Drawing- Week 7, Thursday 7th March 2013
In this session we produced a tonal pencil drawing using a 2B pencil, which in all honesty limited my drawing slightly as I couldn't achieve a full tonal range. Yet I feel a successful piece. We got to choose the pose in which the model sat for this session. Unfortunately for myself, with the angle my easel was to the model, he was massively foreshortened. But as we were reminded in each session, Draw what you see, not what you know'. This definately helped the process and using all the methods taught to check and ensure it was accurate. I purposefully left my construction lines like that of Euan Uglow.
Life Drawing- Week 6, Thursday 28th February 2013
On this session of life drawing we were mimicking a technique used by Remnrandt, by drawing the highlights of the figure with wax crayon and then covering with a ink wash to reveal the marks just made. Working back into the wax drawing with an ink nib, cross hatching to describe the shapes and forms of the figure.
Life Drawing- Week 5, Thursday 21st February 2012
Using the method of triangulation, we used the models hips to measure the angles of parts of the figure. Although an effective method, not my preferred method as if an angle is measured inaccurately, it can flaw all the angles following. This week we used another female model, and sounds a simple task but she had long hair, introducing another challenge as if done wrong can ruin a good drawing.
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| A collaborative drawing |
Life Drawing- Week 4, Thursday 14th February 2013
For Mark Wilson's session of life drawing, we were concentrating on drawing the model and the surrounding as it was all had an equal importance. This week we had a female model, which opened new challenges.
Artists working with Paper and scissor drawing
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| Henri Matisse |
"During the last decade of his long life, Henri Matisse produced some 270
paper cutouts. Although they constitute independent works, many also
served as maquettes for projects as different in scale and purpose as
book illustrations or designs for liturgical vestments and stained-glass
windows. During the 1930s, Matisse had already used paper models to
help him compose his paintings. Then, after two serious operations in
1941 left him in poor health, the artist worked more and more with paper
cutouts—something he could do sitting up in bed or in an armchair. With
scissors, Matisse cut shapes from sheets of paper that his assistants
first had colored with gouache. These would be pinned into position and,
once finalized, glued onto a white or multicolored ground. After the
late 1940s, when the size of these cutouts increased so much that they
had to be executed on the wall, he would direct his assistants as to the
specific placement of the shapes and they would carry out his vision."
Life Drawing- Week 3, Thursday 7th February 2013
On this session of life drawing we looked at building up the figure through paper cutting. Using a simple, yet effective medium, choosing to rip or cut the different shades of paper with a scalpel to highlight tonal areas. Other artists that work in a similar manor are Matisse and Rob Ryan, only using shapes and cutting tools to describe either the figure or their chosen subject matter.
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| Paper Cutting with Black and Grey paper |
Thursday, 21 March 2013
Artists working tonally
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| Ken Currie. Unfamiliar Reflection, 2006 http://www.nationalgalleries.org/whatson/exhibitions/ken-currie | "The work of Ken Currie is both provocative and harrowing. Known for scrutinising the human condition, Currie pushes the boundaries of contemporary art, depicting a complex and sometimes apocalyptic world." The Independent, 'Immortality'(Thursday 7th April 2007) written by Emma McFarnon. |
Wednesday, 13 February 2013
Life Drawing- Week 2, Thursday 31st January 2013
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| Charcoal tonal drawing, erasing with putty rubber and marking detail with compressed charcoal |
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| Charcoal toned paper, erasing with putty rubber to mark highlights |
A brief history of the anatomy of the human figure
In our first session of life drawing, we drew using the proportional method, one continuous line and a basic charcoal study.
We also looked at a brief history of the anatomy of the human body and how it was interpreted by artists such as Leonardo Da Vinci, Brunelleschi and Michelangelo.
45 bc- Vitruvius (Ancient Greece)
The Italian Renaissance marked the end of the Middle Ages in Europe, the word 'renaissance' means re-birth. They were full of admiration for the wide-ranging talents of 'universal men' such as Leonardo Da Vinci. Although most famous for his paintings, he also studied engineering, anatomy and botany as well as architecture, physics and meteorology. From his detailed notebooks came the study of the 'Vitruvian Man'. The Vitruvian Man is a drawing created by Da Vinci circa 1490, portraying the male figure into two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvian.
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| Leonardo Da Vinci, The Vitruvian Man circa 1490, Pen and ink of paper |
Life Drawing- Week 1, Thursday 24th January 2013
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| Basic charcoal drawing |
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| Pencil drawing using proportional method |
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| Fine liner drawn using long bamboo stick |
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