16/08/14 & 28/08/14
This time you will draw a sequence of six different poses lasting ten minutes each. Adjust the light so that it hits just one side of the model, to emphasise the three-dimensional form. Take time to look at the model and identify the darkest and lightest areas. Remember the basic shapes and begin to shade in the darkest areas.
The first three of the six poses done on this day in the evening using black conte stick and charcoal were as per the brief. As it was a summer’s evening it was still light and the chair was positioned to the left of a south-facing window. In drawing 1, the light was fairly even from the front with some light hitting the top of the chair and the model’s shoulders. In drawing 2, I asked the model to lounge across the arm of the chair towards the right so that more light fell on the front of his upper body. The back cushion of the chair was dark in contrast to his chest so this made the figure come forward of the chair and gave a three-dimensional effect and the shadow came round the front of the torso. It would have been more successful had the shadow on the chair seat cushion been darker too – it worked on the right hand side but was omitted from the left. In drawing 3, I think the model and chair are a more cohesive element. The model is seated well into the chair and the tones are more realistic, as the evening wore on, there was less light hitting the arm of the chair and the model’s head which brought them together. It would have been nice to have had time to include more of the surroundings to make a more finalised image. I had intended to have all three drawings on one sheet to show a series of drawings, but the second drawing demanded more width of paper by its nature if they were to be of similar scale.
The final three 10 minute poses were done nearly two weeks later. I felt obliged to leave my model alone for a while as the modelling commitment was beginning to be a chore for him. During the meantime I had been working on other projects that did not demand a model other than myself, however, I was getting impatient to draw a line under this exercise and we were to be away for 10 days at the end of that week. So, after some cajoling and promises of copious cups of tea, we began the next three poses. I have to admit, I had forgotten the key element of the exercise which is obvious from the drawings. The light and shade aspects were minimal as I concentrated on the shapes, proportions and form of the figure, which although obviously important, were not the main objective here. Although, I am fairly happy with the structure particularly of the first in this series because of the downward viewpoint, foreshortening and slight quirky pose, I am disappointed with myself by not working on the tonal aspect more comprehensively.