Drawing 1: Part 4 – Assignment Four

For this assignment four, it was very interesting at how all three drawings results came out. I find doing the preliminary drawing studies and notes with some research on inspiring artists as very helpful tips for this assignment.

For the A1 seated and reclining drawings, I used live models, who were friends of mine and were glad to pose for the assignment drawings.

1. Figure Study using Line (A1) – Seated Model in an Upright Chair.

First I did some look back at my previous studies and research points to collect ideas and inspirations. I came across a line style that I used in previous exercises called Cross Contour Lines, which seems perfect for my final seated pose drawing.

The cross contour line style is an inspiration from “Portrait of the Woman” drawing by Giovanni Boldini, here image link: https://images.fineartamerica.com/images/artworkimages/mediumlarge/2/portrait-of-the-woman-giovanni-boldini.jpg (Accessed 17/10/2020).

You can see my ideas in my A4 sketchbook on page 38, see in Fig. 1 “Look Back Notes, Ideas and Inspirations – A4 Sketchbook, Page 38“, below.

Here is some links from previous studies and researches that I used the ideas and mediums for the final seated drawing.

Part 1: Project 2 – Exercise 3: Creating Shadow using Lines and Marks Link: https://tristanfineart.wordpress.com/2019/02/12/project-2-exercise-3-creating-shadow-using-lines-and-marks/

Part 2: Project 3 – Exercise 1: Still Life using Lines Link: https://tristanfineart.wordpress.com/2019/09/09/part-2-project-3-exercise-1-still-life-using-lines/

Part 4: Project 6: The Head – Research Point – Artists who Work on the Face in Different Ways Link: https://tristanfineart.wordpress.com/2020/09/27/part-4-project-6-the-head-research-point-artists-who-work-on-the-face-in-different-ways/

Preliminary Drawings of Tessa – A4 Sketchbook

I first used my female friend Tessa as the model for the first view preliminary sketches, but then she couldn’t pose for the longer pose for some reasons, so I got my male friend Chad who was willing to pose for the view more preliminary sketches and the final drawing pose.

Here you can see the different line style preliminary drawings of Tessa, below.

First drawing is done with a blue and red colouring pencil in the A4 sketchbook on page 39, see in Fig. 2 “Preliminary Sketch of Tessa – Blue and Red Pencil in A4 Sketchbook, Page 39“, below.

Fig. 2 Preliminary Sketch of Tessa – Blue and Red Pencil in A4 Sketchbook, Page 39

For the second drawing of Tessa, I used black, blue and red gel pens in this drawing. See in Fig. 3 “Preliminary Sketch of Tessa – Blue, Black and Red Gel Pen in A4 Sketchbook, Page 40“, below.

Fig. 3 Preliminary Sketch of Tessa – Blue, Black and Red Gel Pen in A4 Sketchbook, Page 40

In this final preliminary drawing of Tessa, I used a 2mm graphite clutch 2B pencil in the A4 sketchbook on page 41, see in Fig. 4 “Preliminary Sketch of Tessa – 2mm Graphite Clutch 2B Pencil in A4 Sketchbook, Page 41“, below.

Fig. 4 Preliminary Sketch of Tessa – 2mm Graphite Clutch 2B Pencil in A4 Sketchbook, Page 41

Preliminary Drawings of Chad – A4 Sketchbook

When Tessa couldn’t pose for any longer for some reasons, I managed to have my male friend Chad to pose for the rest of seated preliminary sketches and the final drawing.

First sketch of Chad was done with a black gel pen in the A4 sketchbook on page 42. I love this pose view point as it shows great foreshortening, which I will use the same pose in the final A1 seated drawing. You can see it in Fig. 5 “Preliminary Sketch of Chad – Black Gel Pen in A4 Sketchbook, Page 42“, below.

Fig. 5 Preliminary Sketch of Chad – Black Gel Pen in A4 Sketchbook, Page 42

In the second drawing, I used a black Conte pencil and loved the medium, so looking forward to using it in the A1 final drawing. These show some of the feature areas with using the cross contour lines style. You can see it in Fig. 6 “Preliminary Sketch of Chad – Black Conte Pencil in A4 Sketchbook, Page 43“, below.

Fig. 6 Preliminary Sketch of Chad – Black Conte Pencil in A4 Sketchbook, Page 43

For the final preliminary sketch of Chad, I tried the black Conte pencil with sepia and navy blue acrylic drawing ink washes. I love how these mediums combine together and it shows great expressive feelings. I will be using these mediums in the final A1 drawing. See in Fig. 7 “Preliminary Sketch of Chad – Black Conte Pencil and Ink Wash in A4 Sketchbook, Page 44“, below.

Fig. 7 Preliminary Sketch of Chad – Black Conte Pencil and Ink Wash in A4 Sketchbook, Page 44

So finishing off with the preliminary drawings and updating my log book with written notes. Then I started on the A1 size final seated drawing of Chad.

Final Drawing (A1) – Seated Model using Lines

For the final drawing, I asked Chad to do the same pose as he did in one of the preliminary sketches as seen in Fig. 5 “Preliminary Sketch of Chad – Black Gel Pen in A4 Sketchbook, Page 42“, but this time, I used the natural sunlight source from the window.

I first painted the sepia and navy blue acrylic drawing ink washes on the A1 white cartridge paper 280gsm, which was mounted to a board. After doing the ink washes, I went to draw in the the big shapes like for example the chair and figure outlines with the black Conte pencil lightly.

After getting the shapes well proportioned, I then went into the figure with cross contour lines with the compression of the black Conte pencil or stick. Wide dark lines are for the shaded areas and light thin lines are the light areas. Bare in mind that my friend Chad is a short height person with a larger face.

Finishing this drawing was the best feeling and I love the outcome results of it, there is so much inspirations and techniques that stand out in this drawing. The way the cross contour lines follow the movement of the material and folds, has really well balanced the atmosphere of Chad’s figure.

There was a stage where I struggled in this drawing, which was trying to avoid of going into details with Chad’s face, because I feared that this drawing would end up as a portrait. But looking at it, all I can see is a seated figure who seems to have been very relaxed and enjoying the conversation that we shared during the 2-hours timeframe.

You can see the final A1 seated Chad using lines in Fig. 8 “Final Drawing of Chad Seated – Black Conte Pencil with Sepia and Navy Blue Ink Washes, A1 White Cartridge Paper, 280gsm“, below.

Fig. 8 Final Drawing of Chad Seated – Black Conte Pencil with Sepia and Navy Blue Ink Washes, A1 White Cartridge Paper, 280gsm

Here is a close up of Chad’s face and torso in Fig. 9 “Final Drawing of Chad, Close Up of the Details – Black Conte Pencil with Sepia and Navy Blue Ink Washes, A1 White Cartridge Paper, 280gsm“, below.

Fig. 9 Final Drawing of Chad, Close Up of the Details – Black Conte Pencil with Sepia and Navy Blue Ink Washes, A1 White Cartridge Paper, 280gsm

Here is also another close up of Chad’s face details, which gives a clear understanding of the cross contour line mark-makings. See in Fig. 10 “Final Drawing of Chad, Close Up of Face Details – Black Conte Pencil with Sepia and Navy Blue Ink Washes, A1 White Cartridge Paper, 280gsm“, below.

Fig. 10 Final Drawing of Chad, Close Up of Face Details – Black Conte Pencil with Sepia and Navy Blue Ink Washes, A1 White Cartridge Paper, 280gsm

Log Book Notes for the Seated Model using Lines

See in Fig. 11 “Log Book Notes“, below.

2. Figure Study using Tone (A1) – Reclining Model.

For this reclining pose drawing, I used my artist friend Calista to pose for me as she was happy to do so.

I did some look back at my previous studies and research points to collect ideas and inspirational ideas. I found an inspirational artist known for his expressive tonal charcoal drawings, which was Edgar Degas, here you can see a charcoal drawing in the link here: https://dygtyjqp7pi0m.cloudfront.net/i/35689/30744696_1.jpg?v=8D5E8FC771EC0E0 (Accessed 17/10/2020).

You can see my ideas in my A4 sketchbook on page 47, see in Fig. 12 “Look Back Notes, Ideas and Inspirations – A4 Sketchbook, Page 47“, below.

Here is also link from previous study in Part 4: Project 6 – Exercise 2, that I used the charcoal expressive style idea for the final reclining pose drawing.

Part 4: Project 6 – Exercise 2: Your Own Head Link: https://tristanfineart.wordpress.com/2020/10/04/part-4-project-6-exercise-2-your-own-head/

Preliminary Drawings of Reclining Calista – A4 Sketchbook (Page 45)

I did a page in the A4 sketchbook of preliminary sketches of Calista and getting the idea of which view angle will work for the A1 final reclining pose drawing. I also found the willow charcoal stick still the best medium to use for giving great tonal values and expressive marks, which I will use as my final A1 drawing medium.

Here you can see the preliminary sketches in Fig. 13 “Preliminary Sketches – Charcoal Pencil, Black Conte Pencil and Graphite Pencil, A4 Sketchbook, Page 45“, below.

Fig. 13 Preliminary Sketches – Charcoal Pencil, Black Conte Pencil and Graphite Pencil, A4 Sketchbook, Page 45

Final Drawing – Calista Reclining Pose

I first had Calista to do a reclining pose, wearing her black pants and light cream jersey, she also was instructed to rest her right arm on a fabric draped cardboard box. The light source came from natural sunlight from the window for this drawing.

I first drew the large body shapes lightly with the willow charcoal stick, then after that I went and blocked in the mid and dark tonal areas by using the flat side of the willow charcoal stick. When finished with using the willow charcoal stick, I then used a putty eraser to lift up the charcoal in some areas where there was some light source shining on, for example the face and jersey.

I love the results of the shaded dramatic tonal background, it makes the figure to be the main attention of the audience. The tonal values are well balanced and seeing this drawing as less detailed information makes it a very interesting reclining subject. Her figure size is well proportioned and her character can be seen clearly as a gentle lady.

You can see the final A1 reclining pose drawing in Fig. 14 “Final Drawing ‘Calista Reclining’ – Willow Charcoal Sticks on A1 White Cartridge Paper, 280gsm“, below.

Fig. 14 Final Drawing ‘Calista Reclining’ – Willow Charcoal Sticks on A1 White Cartridge Paper, 280gsm

Here is a close up of the final drawing, see in Fig. 15 “Final Drawing ‘Calista Reclining’ Close Up – Willow Charcoal Sticks on A1 White Cartridge Paper, 280gsm“, below.

Fig. 15 Final Drawing ‘Calista Reclining’ Close Up – Willow Charcoal Sticks on A1 White Cartridge Paper, 280gsm

Log Book Notes

Here is my written log book notes for the reclining pose drawing, see in Fig. 16 “Log Book Notes“, below.

3. A Portrait or Self-Portrait Combining Line and Tone.

For this part of the assignment, I chose to do a self-portrait, but in a different subject style.

So firstly before I did some look back at my previous studies or researches, this image idea came into my mind and the idea is a triple self-portrait.

The triple portrait idea was an artwork of one of my ancestors by the celebrated artist Sir Thomas Lawrence, who has painted a couple of portraits of my ancestors in his days, so this triple portrait of my family ancestor Emilia Butler, Lady Cahir, later Countess of Glengall (1776-1836) c. 1804-1805, was the inspirational artwork of my childhood. It such an elegant artwork, that looks like a mixed media painting and was done with charcoal, pastel and oil paint.

Painting Link: https://lh3.googleusercontent.com/-R9wIjU0UIFU/TXZywn-CqtI/AAAAAAAAFwQ/SSJKAHTN5as/s1600/2-LAWRENCE_EMILY-COUNTESS-OF-GLENGALL+%25282%2529.JPG (Accessed 17/10/2020).

You can see my written ideas for the self-portrait part of this assignment in Fig. 17 “Look Back Notes, Ideas and Inspirations – A4 Sketchbook, Page 48“, below.

Here is also link from previous study in Part 2: Project 3 – Exercise 4 that I used the sea blue green ink colour idea for the final triple self-portrait drawing.

Part 2: Project 3 – Exercise 4: Monochrome Link: https://tristanfineart.wordpress.com/2019/11/19/part-2-project-3-exercise-4-monochrome/

Preliminary Drawing for Triple Self-Portrait – A4 Sketchbook (Page 46)

I did a preliminary drawing and test on the colours and mediums that are combining together for the final drawing. I plan to use old newsprint paper and tear them up to stick in the background of the triple self-portrait. My chosen ink colours are the sepia for light areas and sea blue green for shadow areas. I also planned on using a graphite 4B pencil and white coal stick for adding highlights on top the dried ink at the end of the drawing.

You can see the preliminary drawing with mediums for the final drawing in Fig. 18 “Preliminary Sketches – A4 Sketchbook, Page 46“, below.

Final Drawing – Triple Self-Portrait

I started drawing the big shapes in like my three faces with the graphite pencil lightly, at the same time I used a mirror to look at while drawing, but I used a photo reference for the side profile face. After drawing in the three face shapes, then next is the overlaying line marks and shading the tonal areas.

After finishing the graphite pencil drawing, I used fixative spray to fixative the graphite medium before going over with the two ink colour washes, sepia for the light areas and sea blue green for the shaded areas. The ink washes create a good sense of feeling, like there is energy exploding from three different directions.

Lastly was the old torn up newsprint paper that I wanted to combine the same colour of Sir Thomas Lawrence’s triple portrait background into my triple self-portrait. But doing the tear up effect in the background makes it more abstract with a twist of old colour.

You can see the final self-portrait drawing in Fig. 19 “Final Self-Portrait Drawing – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm“, below.

Fig. 19 Final Self-Portrait Drawing – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm

Here is a close up of the looking ahead face from the final triple self-portrait, see in Fig. 20 “Final Self-Portrait Drawing ‘Looking Ahead’ – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm“, below.

Fig. 20 Final Self-Portrait Drawing ‘Looking Ahead’ – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm

Here is a close up of the slight angle face from the final triple self-portrait, see in Fig. 21 “Final Self-Portrait Drawing ‘Slight Angle’ – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm“, below.

Fig. 21 Final Self-Portrait Drawing ‘Slight Angle’ – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm

Here is a close up of the side profile face from the final triple self-portrait, see in Fig. 22 “Final Self-Portrait Drawing ‘Side Profile’ – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm“, below.

Fig. 22 Final Self-Portrait Drawing ‘Side Profile’ – Graphite Pencil 4B, White Coal, Ink Washes and Torn Up Newsprint Paper on White Cartridge Paper 37 x 58cm, 280gsm

Log Book Notes

Here is my written notes for the triple self-portrait drawing, see in Fig. 23 “Log Book Notes“, below.

Reflection Assessment Criteria

That’s the end of Assignment Four and here is the Drawing 1 – Part 4: Reflection Assessment Criteria Link: https://tristanfineart.wordpress.com/?p=1981

Part 4: Project 5 – Exercise 1: Single Moving Figure

For this exercise, I did sketches of my sister Kelly, who did some moving movements like spinning and rotating like a ballerina. I did this in my A4 sketch book on page 28. I used a black gel pen as it’s great for doing quick sketches. I told my sister to keep rotating while I sketched and eyeing on her body movement at the same time.

I find her movements in the drawings exciting and joy. The mark-makings style captures her movement well, even the way her long hair follows the rotation movement.

You can see the single moving figure drawing in Fig. 1 “Single Moving Figure Drawings – Black Gel Pen, A4 Sketch Book (Page 28)“, below.

How well have you managed to create the sense of a moving figure rather than a static pose?

I managed to create a great sense of joy and excitement in the moving figure, this is by looking at the drawing mark-making style, then way my black gel pen lines continuously moves with the movement directions. I find the moving figure drawing part has more life and expressive vision to seek than a static pose, which gives no live performance to visualize.

Part 4: Project 4 – Exercise 2: Three Figure Drawings

For this exercise, I did these drawings at the live nude figure drawing class that I attend on Saturday mornings. This time, we had two models, one a female Aneesa and the other was a male Keagan.

The female model Aneesa had to leave earlier for emergency reasons, so she only posed for hour and half for us, so Keagan the male model, managed to help us by posing for another 2-hours.

Several Two-Minute Sketches

First I started with the two-minute sketches in the A3 sketchbook, I did drawings of Aneesa in the top right area on page 6. Then later on after Aneesa hour lounging pose had ended and she had to leave. Then I went on to carry on with more sketches on the same page of Keagan’s standing and seated poses. I find these quick and rough two-minute studies useful, it’s good to warm-up my mark-makings and tones.

You can see the 2-minute quick studies in Fig. 1 “Quick Rough 2-Minute Sketches – Cretacolor Monolith 2B Pencil, A3 Sketch Book (Page 6)“, below.

Lounging Pose

For the lounging pose, I used a Cretacolor monolith 6B pencil on an A2 white cartridge paper 200gsm. This was a one hour pose, so it gave me plenty time to draw in good tones and mark-makings in this drawing. I love how I captured her foreshortening pose and the depth of her body weight sinking into the large pillows. I struggled with her hand, so I left it alone and decided to not overwork it anymore, also I kept her face less detailed. The best thing about looking at this drawing after finishing it, was that I realized that I was sitting in a good position, because I had great light source.

The medium is wonderful and can be very tricky to erase it after making a mistake. So I recommend to start from a light pencil towards dark.

You can see this lounging pose drawing in Fig. 2 “Lounging Pose – Aneesa Lounging – Cretacolor Monolith 6B Pencil, A2 White Cartridge Paper, 200gsm“, below.

Standing Pose

For the standing pose, we had Keagan our male model to stand after Aneesa left for emergency reasons, so this was a 45-minute long pose. Keagan stood against a plain screen divider, which gave me a good casting shadow from the figure against the screen divider. I used a Cretacolor monolith 6B pencil on an A2 white cartridge paper 200gsm in this drawing.

This pose was very tricky, because we had a 10-minute break for the model to stretch a bit, so after the break, the pose wasn’t exactly the same as before. So this made me struggle with the legs, which I ended up not getting good information in the feet, but still there’s plenty information in them.

I love the tonal values and mark-makings that settle against the screen divider that also helps to represent the body weight of Keagan. You can see this standing pose drawing in Fig. 3 “Standing Pose – Keagan Standing – Cretacolor Monolith 6B Pencil, A2 White Cartridge Paper, 200gsm“, below.

Fig. 3 Standing Pose – Keagan Standing – Cretacolor Monolith 6B Pencil, A2 White Cartridge Paper 200gsm

Seated Pose

For the seated pose, which was a 45-minute long pose with one 10-minute break between. I drew this from side angle, the reason is that he had good light source and character motion happening from this view point. I used Cretacolor monolith 8B pencil and 2B clutch pencil on an A2 white cartridge paper 200gsm in this drawing.

I enjoy how the drawing finished results came out, it’s such an interesting view point with a lot of open space surrounding a peaceful Keagan who seems to wander off into a deep thoughtful conversation on his phone.

You can see the seated pose drawing in Fig. 4 “Seated Pose – Keagan Seated – Cretacolor Monolith 8B Pencil & 2B Clutch Pencil, A2 White Cartridge Paper, 200gsm“, below.

Fig. 4 Seated Pose – Keagan Seated – Cretacolor Monolith 8B Pencil & 2B Clutch Pencil, A2 White Cartridge Paper 200gsm

Review Assessment:

How accurately did you depict the overall proportions of the figure?

I believe in myself that I have managed to capture the body proportions well and giving them enough information within the muscles, tonal-values and mark-makings with the best chosen mediums.

Did imaging the sitter’s skeleton and muscles help you to convey the figure’s structure and form?

I find that if you have great light source on the figure, you will be able to understand the underlying skeleton of the figure clearly and this helped me to understand how to capture the body weight from the figure. The form part was created by the mark-makings and the way the marks direction follows the bent or curves, helps to give the structure a well more balanced understanding.

Part 4: The Figure and the Head – Research Point – Underlying Structure of the Body

Artworks the depict the underlying structure of the human body in the art world has been going on since from the medieval times, mostly it was important to medical doctors. The most recognized early artist for doing a lot of anatomy drawings was Leonardo Da Vinci, he was a great art master of his time, whose been heard a lot in the art world.

We can see an interesting drawing by Leonardo Da Vinci, depicting a male figure, you can see the structure in a very motive pose with the central axis line. This can be seen in Fig. 1 “Anatomy of a Male Nude, (c. 1504-1506)”, below.

Fig. 1 Anatomy of a Male Nude, (c. 1504-1506)

Another great artist was the French Romanticism artist Eugène Delacroix, who played also a big role in the underlying structure of bodies. He would mostly do drawings from medical corpses, by studying the muscles, tissues and bones.

Here you can see a drawing by Delacroix of a dead man’s torso by exposing the muscles and tissues that are running down his arm. You can see this drawing in Fig. 2 “Écorché: Three Studies of a Male Cadaver, (Date Unknown)”, below.

Fig. 2 Écorché: Three Studies of a Male Cadaver, (Date Unknown)

Here is a fantastic contemporary Italian artist Valerio Carrubba who does his artworks in a surrealism movement style. His artworks show the underlying structure of the body in bright bold striking and sharp colours that blend well with the scene and subject.

Here we can see one of Valerio Carrubba’s vibrant and unusual anatomy experienceful artwork in Fig. 3 “Bird Rib, (2007)”, below.

That’s the end of the research point so far for this post.

List of Illustrations:

Fig. 1 Da Vinci, Leonardo (c. 1504-1506) Anatomy of a Male Nude. [Drawing] At: https://upload.wikimedia.org/wikipedia/commons/f/f5/Anatomy_of_a_Male_Nude.jpg (Accessed 19/09/2020).

Fig. 2 Delacroix, Eugène (Date Unknown) Écorché: Three Studies of a Male Cadaver. [Pen Brown Ink and Graphite] At: https://collectionapi.metmuseum.org/api/collection/v1/iiif/342873/1355469/main-image (Accessed 19/09/2020).

Fig. 3 Carrubba, Valerio (2007) Bird Rib. [Oil on Stainless Steel] At: https://1.bp.blogspot.com/-X0MtgUaODW4/UT5H5e83HjI/AAAAAAAAAGo/mmwA5aMS_OY/s1600/Danny+Kimberly.jpg (Accessed 19/09/2020).

List of Bibliographies:

Met Museum (2020) Eugène Delacroix. At: https://www.metmuseum.org/art/collection/search/342873 (Accessed 19/09/2020).

RobotSpaceBrain (2012) Are We Not Drawn Onward, We Few, Drawn Onward to New Era. At: http://www.robotspacebrain.com/are-we-not-drawn-onward-we-few-drawn-onward-to-new-era/ (Accessed 19/09/2020).

Part 4: Project 4 – Exercise 1: The Structure of the Human Body

For this exercise, I basically did these drawings at the live nude figure drawing class that I attend on Saturday mornings, but I forgot my A3 sketchbook to do them in. So I had to draw them on loose sheets of card paper and then when I got home, I cut the loose sheets smaller to paste them in my A3 sketchbook. I wrote details and added some image examples of other artists artworks as references.

Structure Sketches – A3 Sketchbook

Here we can see four 6-minute drawings of the torso structure with tonal shadings to indicate the curves and the movement of the muscles. These were done with a black conte oil pencil on a loose white card sheet. You can see this drawing in Fig. 1 “Structure Sketches – A3 Sketchbook, Page 1“, below.

Here we can see a thirty-minute full body drawing of the torso, arms and legs with tonal mark-makings to show the movements of the muscles and weight of the body. This was done with a graphite 2mm pencil on a loose white card sheet. You can see this drawing in Fig. 2 “Structure Sketches – A3 Sketchbook, Page 2“, below.

Fig. 2 Structure Sketches – A3 Sketchbook, Page 2

Here is two 10-minute drawings of the feet and ankles structure with tonal mark-makings to show the movements of weight, compression and bents. Also I did some little quick sketches next to the two 10-minute feet drawings to show how I begin with big shapes before going into shading details. This was done with charcoal pencil on a loose white card sheet. You can see this drawing in Fig. 3 “Structure Sketches – A3 Sketchbook, Page 3“, below.

Fig. 3 Structure Sketches – A3 Sketchbook, Page 3

Here is a ten-minute structure drawing of the legs, knees and feet with sharp mark-makings in the direction of creating curves and roundness. Also I showed a little image of legs and hands sketches by John Singer Sargent. This was done with charcoal pencil on a loose white card sheet. You can see this drawing in Fig. 4 “Structure Sketches – A3 Sketchbook, Page 4“, below.

Fig. 4 Structure Sketches – A3 Sketchbook, Page 4

Here is some structure drawings of the arms and hands, with mark-makings in the directions of the curves, muscles and bents. Also I showed a little image of hand sketches by John Singer Sargent. This was done with a black conte oil pencil in A3 sketchbook. Also I pasted a graphite pencil drawing of a skull that I drew at live nude figure drawing class, but bare you in mind, it’s a plastic skull, so don’t get a shock of your life if you thought it was a real skull. You can see this drawing in Fig. 5 “Structure Sketches – A3 Sketchbook, Page 5“, below.

Fig. 5 Structure Sketches – A3 Sketchbook, Page 5

That’s the end of this exercise so far and I hope you enjoy reading it. Learning to draw is powerful, it’s always an good experience to practice, so don’t give up, keep practicing for good results.

Part 4: Project 3 – Exercise 4: Energy

For this exercise, I did all these drawings at the live nude figure drawing class that I attend on Saturday mornings. The model was a young female by the name Jade and she did some movement poses for our quick sketches warm-up session.

Quick Sketches in Sketchbook

Firstly, I did some rapidly flowing movement sketches in the A4 sketchbook on page 27 with the black conte oil pencil. I wanted to get the sense of flow and energy that was happening while she was moving around for three-minutes non-stop. You can see the flow movement and twisting poses in Fig.1 “Quick Sketches – A4 Sketchbook (Page 27), Black Conte Oil Pencil“, below.

Fig. 1 Quick Sketches – A4 Sketchbook (Page 27), Black Conte Oil Pencil.

Warm-Up Quick Sketches

Then moved onto the one and two minutes still poses. Firstly was the three one-minute sketches on A3 newsprint paper with thin willow charcoal stick. Then after the one-minute sketches was the two-minute sketches. Then lastly was the final five-minute drawing.

Three One-Minute Sketches

Here are the three one-minute quick warm-up sketches on A3 newsprint paper with thin willow charcoal stick. See in Fig. 2, Fig. 3 and Fig. 4, below.

Fig. 2 Quick Sketch – One-Minute, Willow Charcoal Stick, A3 Newsprint Paper No.1

*Fig. 3 Quick Sketch – One-Minute, Willow Charcoal Stick, A3 Newsprint Paper No.*2

Fig. 4 Quick Sketch – One-Minute, Willow Charcoal Stick, A3 Newsprint Paper No.3

Two Two-Minute Sketches

Here are the two two-minute quick warm-up sketches on A3 newsprint paper with thin willow charcoal stick. See in Fig. 5 and Fig. 6, below.

Fig. 5 Quick Sketch – Two-Minute, Willow Charcoal Stick, A3 Newsprint Paper No.1

Fig. 6 Quick Sketch – Two-Minute, Willow Charcoal Stick, A3 Newsprint Paper No.2

Final Drawing – Five-Minute Pose

I asked Jade to do the same pose as she did in the one-minute sketch seen in Fig. 2, which she was very pleased to do it. She hold her pose for five-minutes while I sketched with a black conte oil pencil on an A3 white cartridge paper 200gsm. I just started drawing lines over and over until it created sense of energy, like fireworks exploding across the whole page.

You can see the final five-minute pose drawing in Fig. 7 “Final Drawing – “Jade’s Energy Pose” , Black Conte Oil Pencil, A3 Paper, 200gsm“, below.

That’s the end of this exercise so far.

Part 4: Project 3 – Exercise 3: Stance

For this exercise, our model at the live nude figure drawing class was my friend of mine Dalton, I did all these two to five minutes sketches on an A2 newsprint paper sheets with a thin willow charcoal stick. I started picking up more expression, movements and sense in the three to five minutes drawings.

These are very fun and useful, also I realized that I was developing more broad and loose marks when the minutes became longer.

Two-Minute Sketches

Here are the two-minute sketches as can be seen in Fig. 1 and Fig. 2, below.

Three-Minute Sketches

Here is the three-minute sketches on one page, seen in Fig. 3, below.

Four-Minute Sketches

Here is the four-minute sketches on one page, seen in Fig. 4, below.

Five-Minute Sketches

Here is the five-minute sketches on one page, seen in Fig. 5, below.

Part 4: Project 3 – Exercise 2: Essential Elements

For this exercise, all the drawings were done at my live nude figure drawing class session that I attend on Saturday mornings. I decided to use a black ballpoint pen for all these drawings on A2 white cartridge paper 200gsm sheets. I’ve been planning on using the ballpoint pen for a while, it’s something tricky that I can face it and learn to use it in a challenging way.

Our model for the session was a short female by the name Robin, and she was new model. She had a very interesting figure due to it’s small and short stature.

Six 10-Minute Sketches

I first divided the A2 white cartridge paper into six drawn out frames to do a 10-minute sketch in each of them. The model was instructed to do a laying down pose. So for every 10-minute sketch, I moved myself to a different angle. These six 10-minute sketches were done with the black ballpoint pen.

You can see the six 10-minute sketches in Fig. 1 “Six 10-Minute Sketches with Black Gel Pen, A2 White Cartridge Paper, 200gsm“, below.

Fig. 1 Six 10-Minute Sketches – Black Gel Pen, A2 White Cartridge Paper, 200gsm

First Drawing

For the first drawing, we were given an hour long pose to draw from the model, who was in the same pose as the six 10-minute sketches. I did this from a tricky angle and I wanted to challenge myself at doing a foreshortening with a ballpoint pen. I also did a bit fun in this drawing by adding another figure in the background to create a sense of space around the model

I love the resting pose in this drawing, but at the same time I feel lost with the sense of gesture and emotions. This could be the results of over-working with too much details, which ended up getting too dark from overlaying with the use of pen, this is seen on her back and the bed stand. I feel like the bed stand is standing out with more attention than the figure, so I knew at that moment that if I keep the bed stand less detailed and light to help make the figure stand out more.

You can see the drawing in Fig. 2 “First Drawing – ‘Resting’, Black Gel Pen, A2 White Cartridge Paper, 200gsm“, below.

Final Drawing

For the final drawing, the model was asked to do a sit up pose for 45-minutes, well damn!, I bet that supporting arm of hers was dead at the end of the session. I chose to do a back angle drawing again, because why not, it’s always a good lesson to force yourself to draw a difficult angle of a figure. I always hated doing the back view poses, because there’s too many muscles to draw or shade, but this was a good challenge with using a black ballpoint pen.

I find this my favourite sense of gesture and feelings so far. I feel like it’s because the way I kept the bed stand out loose and this actually helped the figure have more attention. You can see the drawing in Fig. 3 “Final Drawing – ‘Look Away’, Black Gel Pen, A2 White Cartridge Paper, 200gsm“, below.

Fig. 3 Final Drawing – ‘Look Away’, Black Gel Pen, A2 White Cartridge Paper, 200gsm

Log Book Notes

Here is an image of a page with written notes for this exercise from the log book, Fig. 4 “Log Book Notes“, below.