Check & Log
- Did you find it easy to approach the figure as a whole or were you distracted by details of the sitter’s dress?
By completing some warm up sketches initially, using no detail and drawing quickly and with little sight of the actual drawing as I went. I could concentrate on the whole figure, clothes and chair together. These were done in pen and have flowing lines and are lively. I decided to employ the same technique as the warm ups but with pencil, going over and over the figure all around the form and clothing as one.
- How did you create volume in the folds of the fabric?
Once the proportions and pose appeared correct, I knocked back the pencil with broad sweeps of a putty rubber. This retained the impression of the drawing but allowed the coloured pencil to take precedence and avoid muddying the colours with graphite. I blocked in the clothing with one pale colour and then worked into the folds with tonal hatching. As the first stage included the full figure and clothing it was easier to create the illusion of volume in the fabric.
- Does the finished drawing give a sense of the figure beneath the fabric?
I think there is a strong sense of the figure beneath the fabric, as the folds have enveloped prominent features such the knee and shoulders, plus the folds on the seat of the chair help define the thigh.
- How would you tackle a drawing like this again?
I think I would repeat the warm up sketches as it focussed my mind on the whole subject and loosened up the drawing. I would have liked to have made the drawing bigger but as I was using a refection of myself, I had to keep the sketchbook small (A4) to avoid it covering up too much. If I was drawing another model, I think at least A2 would be good and would still try to keep it loose and flowing. Maybe using conte and pastel for a larger drawing.