life drawings

<BODY> <P>BGCOLOR="#262626" BACKGROUND="background1.jpg" VLINK="#999999" ALINK="#999999" LINK="#999999"></P> <P> </P> <P><B><FONT COLOR="#999999" SIZE="+1" FACE="Arial">Figure Drawing:The Process</FONT></B></P> <P><FONT COLOR="#999999" FACE="Arial">There are many approaches to drawing the human form. The traditional tools and methods which include the use of the articulated wooden mannequin; formulated calculations, i.e.,using the head, eyes, torso, etc. as measured references; anatomical analysis of bone and muscle structures; massing of gestural structure; and contour linear delineation; to name a few, have all aided me in my drawing development. Albeit, for me it is in the seeing and not so much the thinking (learned facts but never preconceived ones) that has impacted my drawings the most. Seeing shapes (including line) and putting them down in their correct alignment is fundamental to being successful. This is not always easy for me, especially when I am not always looking down on the paper in the way I draw. But in drawing this way, I have disciplined my eyes to dwell more on the subject and less on the page as I draw. When executed correctly, the resulting image is transferred truer, simpler, cleaner, spontaneously, unencumbered and totally non-contrived. Ideally, I am after continuous "real time" drawing, wherein, the hand is reacting simultaneously with the eyes, which are locked on the model, tracking and recording the sensitivity of line, value, edges, and direction. But this is an utterly impossible feat to draw the entire drawing uninterruptedly without looking at what is going on on the paper. I have learned to modify this drawing scheme by pushing this "blind" hand-eye coordination in the drawing for as long as it takes to complete a section-at-a-time. Comparably, the convention of seeing a part of the object, remembering what has been seen, and then looking down to the paper to transfer the remembered image not only expend more time and energy, but it also, tempts the mind and hand of drawing what the object ought to look like. Some have said that my unconventional way of drawing the nude involves an extraordinary investment of time to become proficient in the disciplined hand-eye coordination that it can discourage the effort to persevere. Perhaps, understandably so, that I don't promote it as I follow my insatiable passion to get it right my way.</FONT></P> <P><FONT COLOR="#999999" FACE="Arial">An Emotional Journey</FONT></P> <P><FONT COLOR="#999999" FACE="Arial">The ultimate interest I am after in delineating the nude is to capture the image of the model in its simplest terms but yet establish a statement of expression incorporating gesture, mood, value, line variety, edges, modeling, and design. As in any of my attempts at creating art in any medium, a stir of excitement precedes the process. There is a certain sense of anticipation and anxiousness in me for a good drawing at the outset. Given the time constraints, I work rather quickly but methodically in that I usually start at the top and work down progressively employing techniques that will impart the greatest effect with economy of means. Once the timed session starts, I am keyed up a notch and my mind races with a multitude of questions as I am constantly talking to myself in resolving drawing issues and making lightening-quick decisions. There is a rush when things are going well with ease and it seems as if the drawing were drawing itself. However, some decisions become ill choices and the drawing is in crisis, while other well-intended decisions are executed poorly. I seldom use the erasure in these situations because it slows me down and disrupts the rhythm. Instead, I finesse the errors by integrating them into the composition-where it becomes possible. Otherwise, I just trash the drawing and start over. Then there are the omnipresent risk-taking "rascals" urging to take center stage. Taking risk is part of the growth equation and I have learned to trust my inner feelings. Someone said that the greatest risk is not taking one. Taking chances are opportunities for success and success begets success. The next time a similar daunting issue arises, the learned success is applied with confidence giving rise to further confidence. Essentially, I would like to acquire the drawing skills akin to alla prima or watercolor painting: do the passage right the first time and correction is a non-issue. When I reach the bottom of the drawing, hopefully before time has expired, the drawing is basically finished and I am usually emotionally spent. Failures far exceed successes under my terms; but it is that challenge to reach this seemingly unattainable goal that drives me on like an obsessed competitor.</FONT></P> <P><FONT COLOR="#999999" FACE="Arial">The Models</FONT></P> <P><FONT COLOR="#999999" FACE="Arial">All the figure drawings were done in life with no instructions at local university facilities. The drawing sessions are simply an informal gathering of freelance artists having a common interest in drawing or painting the nude. Some artists have developed an affinity for certain models perhaps because of their ability to strike great natural poses and work hard to communicate them as well. The duration of the poses begins with ten 2-minute warm-ups, graduating to 5-minute and settling at 20-minute sessions with no poses repeated. While the poses are mainly decided by the models, occasionally, the models will ask for suggestions. My medium is charcoal on 50-lb., acid free, white drawing paper. I occasionally work in watercolor.</FONT></P> <P>Viewing this page requires a browser capable of displaying frames. </BODY>