This workshop questioned the use of and the purpose of the life model within the fine art arena. There was a short presentation on the fundamental technical demands of drawing and how they allow us to think, see and feel. Specifically touch. The question was, how does the unique pressure of a drawn mark connect the tangible world to what we observe, imagine and remember?
We were taken through a range of techniques, firstly using our nail to carve out lines of the model into our paper, then using a faint line of graphite to further these lines in parts. We then used the side of our graphite stick, applying pressure to the page to mark out the more fleshy parts.
Next we eliminated the artificial bleached whiteness of the paper by using charcoal, rubbing into the surface to make a subtractive drawing. Doing this picked up the nail marks I had previously made, which was effective. Using my rubber to mark out the highlights of the model and then using charcoal to go back into mark out the more distinctive darker parts and lines of the model. I mapped the whole of the model rather than concentrating on a certain part of the body. I have previously struggled in past life drawing sessions to get the whole body into the frame of the paper, so wanted to practice this time. I managed it by having my easel off to the side of the model and standing further away from the paper so I had a good view of the model and my paper.
We then sculpted the model as she turned out of paper by looking at the model rather than concentrating on the paper.
The last thing we did was to have a graphite stick attached to the end of a bamboo stick and to stand quite far away from the paper. This enabled more fluidity to the drawing and gave more space to see the model and drawing at the same time, thus making it more accurate.
To take these drawing experiments further I will experiment using pressure to explore a feeling of touching my partner involving techniques such as barely touching the paper as if to softly stroke his cheek or neck; thinking about the moment before, during and after connection with the surface and how to make it charged, thinking about the texture of his hair and stubble and how I could communicate this through drawing and applying pressure in different ways and with different materials. I will experiment closing my eyes to invoke a memory of touching him and letting my memory and the paper/tools do the work of what my head is telling me that my hands would be doing if he were there. I will explore different words related to touching and think about the materials I will use to make the marks and reflect on this.
I chose to do a life drawing of my partner and used different techniques from the workshop. I used pencils ranging from 9H - 9B. I used the B's for the darker shading around his hair and stubble and for his features I used H's as they're much softer. I imagined touching his skin, hair and the blanket over him as I drew and used my pencil in a way that corresponded to how I would touch each part.
These drawings were experiments with watercolours and from inspiration from the artists France-Lise McGurn and Sophie TEA.
Reflections:
- The human form is nice to draw
- The shading could have been a lot better on the woman's torso
- The one above is quite abstract which I like.
- I like the colour palettes used on both, this gives the images a joyful feel to them.
- I used watercolours for both of these, but used cartridge paper which didn't really work as well. I would like to do more of these but with bigger sheets of watercolour paper.
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