Project: Self Portrait – Check and Log

26/09/14

Check & Log

  • Which drawing materials produced the best results? Why?

Over the course of this project I used varying grades of pencil (4B, 6B and 8B), liner pen, watersoluble pencil, soft and hard pastels and coloured pencils.  The majority of drawings were made in my A4 sketchbook which has NOT water colour paper pages and the colour self portrait was drawn on sanded pastel paper in a neutral green shade.  All worked reasonably well.  The liner pen seems to encourage me to be loose and expressive with my marks, yet still allows me to see what I’ve done.  The graphite pencils, as long as I keep them sharp, are good for more delicate shading and tone in smaller studies eg the Neck Shapes, although I do find them hard work for anything over A4.  My favourite, and therefore the best for me, was the combination of pastel and coloured pencil as in the self portrait – this was also helped by the neutral green tint of the pastel paper.  The pastels were great to block in tones, shapes and intial colours to establish the bulk of the head and neck.  Once the bare bones of the drawing were established it was nice to use the coloured pencils for more accurate drawing, although, once I realised which alterations were needed, I also used them for vigorous hatching and blocking in.  The main problem with doing this was that the pastel paper had a strong, abrasive tooth and wore the pencils down very quickly.

  • Does your self portrait look like you? Show it to a couple of friends or family members and note down their comments.

I think in general it does look like me.  As detailed in the exercise notes, it was fascinating to me how it evolved through a couple of family likenesses before it got to me.  I could definitely see my mother in it at one stage, which is very interesting as our features are quite different.  She used to say she had a “Bob Hope” nose, which although an exaggeration, I could see what she meant (realise this reference may have to be Googled by younger readers!).  I have to say I think the nose I drew is too small.

The Bob Hope nose

Disconcertingly, the next resemblance was my middle brother, we have a strong likeness to each other but I needed to bring in more feminine features.  As to what friends and family think, I bravely posted it on my Facebook page for critique!  In general, the comments were “I only remember a much more smiley Gina”, “looks like an older version of you”, “you’re definitely much more smiley than that”, “…looks even better than yesterday, was worth the re-work”, “eyes are spot on”, “an older version of you”, “…but you’re much more smiley”.  Very interesting I thought, I also noted the caption beneath the example in the course notes: “Boccioni’s frown of concentration is a frequent characteristic of self portraits!”  My conclusions are that: when attempting a portrait, self or otherwise, the sitter will relax into an expression and with the best will in the world can not hold a smile for the duration; a portrait is more than a moment in time, as may be said about a photograph, it is about a living, breathing person that should capture the essence of that person, the viewer should probably feel a connection or some sort of emotional pull that makes you feel you know something about them or have at least met them.  If I take my conclusions, then I probably failed on these aspects because people had specific recollections involving a lot of smiling (apparently), they thought I’d made myself look older, however, I think I got that part right, but I am quite animated when I talk so they don’t often see a “freeze-frame” serious me.  Well enough about me, let’s move on…

  • Did you find it easy to convert your sketches into a portrait?

No definitely not!  My portrait from memory was of my neighbour, and whereas a couple of my sketches do actually have a good likeness – or at least how I remember her, I could not replicate that likeness, try as I might!  I did put it down to the fact that Linda did not want her glasses on when I was sketching, yet that was how I’d always seen her and how I remembered her.  However, going back to the previous point, I think it was more than that, I needed to see her in front of me for the drawing to “be” her.

Court Artist Elizabeth Cook www.theguardian.com

Court Artist Elizabeth Cook http://www.theguardian.com

I have renewed admiration for court artists, such as Elizabeth Cook, who can capture not only a likeness but also the emotions and expressions of the players in a court of law.  They have to remember all these things and have their drawings displayed to the world as a realistic record of events denied to TV cameras and photographers.  See link:
http://www.independent.co.uk/arts-entertainment/art/features/court-artists-quick-on-the-draw-9091848.html

 

  •  Were your preliminary drawings adequate?

At the time I thought so.  After leaving it a couple of weeks before re-visiting the drawing, I was still confident until pencil hit paper.  I should have concentrated more on the solid head shape, BOTH eyes and more tonal structure.

 

 

 

 

 

 

 

 

 

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Project: Proportions – Check and Log

07/08/14

Check & Log

  • Have you managed to make a complete statement in this time? What were your main problems?

Short Poses: the 2 minute poses forced me to look at the figure and simplify the drawing.  The first one always instills a sense of panic and I try too hard, subsequent attempts are more fluid and show outline and placement of key parts of the figure and its environment.

Quick poses 2  minute 1

Quick Poses – 2 minutes each
Charcoal on approx A2 sugar paper

Quick poses 2  minute 2

Quick Poses – 2 minutes each
Charcoal on approx A2 sugar paper

 

 

 

 

 

 

 

 

 

 

The 10 minute poses were the most problematic for me – it’s enough time to repeat the steps in the 2 minute ones but then I begin to fiddle with certain areas instead of looking at the overall subject.

Quick poses 10 minute 1

Quick poses 10 minute
Charcoal on approx A2 sugar paper

Quick poses 10 minute 2

Quick poses 10 minute
Charcoal on approx A2 sugar paper

 

 

 

 

 

 
The Longer Pose: I enjoyed this exercise and splitting the hour into 20 minute sittings with a 5-10 minute break worked well.  In the first third, I concentrated on outline, placement and proportion, in the next, tone and limited colour – finally in the last 20 minutes, I reiterated line and structure and worked on the face and  folds in the T-shirt. The breaks also allowed me to stand back from the drawing and re-evaluate progress.

The Longer Pose

The Longer Pose – 1 hour with breaks at 20 minute intervals
Conte sticks in Black, Dark Brown, Sanguine, Grey and White, on buff coloured pastel paper.
50 x 35cm

The main challenge of the longer pose was for the model – I don’t think my husband believed how hard it would be to keep still for 20 minutes, I did try to warn him. Hopefully, he’ll still be willing to volunteer.  Plus the ratio of the paper and fitting in the entire drawing – see last point below.

  • How well have you captured the characteristics of the pose?

I think this was a little hit and miss in the beginning, short pose 2, 4 ,& 5 came across, but am not sure about the 10 minute ones. In the longer pose I think the character came across strongly – more so than the accuracy, which is probably why I like it.

  • Do the proportions look right? If not, how will you try to improve this?

Unexpectedly, I think the proportions look better in the 2 minute sketches.  The hour-long pose tends to look right but I know the struggle I had, so I’m not totally convinced.  It was interesting that the model said immediately that the proportions were right and he hadn’t been prepped beforehand that this was the purpose of the project. I need to look at it with fresh eyes.

To improve, I could either draw smaller to avoid the feel of squeezing the figure on the paper, or, which I’d rather, re-think the ratios of the paper.  The 10 minute sketches were the same size but the paper ratio was better in that the width and height were closer in size.