Just a quick post today. Here are some other drawings done in class as preparation for the collage work.

A project for life drawing this term was to use collage techniques to create an image. The term’s work has consisted of less representational drawing work and more exploration into extrapolation of form and figure as well as different materials and techniques.

Here’s the reference ‘sketch’ I made:

And here’s the completed collage:

One of the things that struck me about the source image was the striking light and the contrast between highlights and shadows. When choosing materials for my collage I chose to go with bright colours, reflective surfaces and contrasted them against a black background. The hi-vis material was pretty fun to work with.

Images from my class on Thursday.

2-3 minute warmup drawings:

Figure drawn using ovoid construction:

Figures drawn using planar construction:

Hybrid images using both ovoid and planar concepts (no I’m not explaining them because… I’m lazy or something)

Progress on the Lucian Freud reproduction, first posted about here.

Apart from just doing more shading, I’ve moved his eyes down a bit.

This year I’ve been taking life drawing classes. Unlike still life setups from my general drawing class last year, life models aren’t able to hold the exact same pose for the entire time they’re needed as reference. Sometimes, they “sag into the pose”, and sometimes we come back from a break and they aren’t able to quite return to the same pose as prior.

So what do you do when a model hasn’t returned to the same pose? Well, the easiest thing to do is to direct them back into the right one. If the pose is only slightly off, then sometimes the differences can be ignored – especially if the drawing itself is complete and the artist is on to the next stage, like toning or colouring. This time, we didn’t catch the differences, and my nearly-complete sketch was quite off. With nine minutes left for the pose my art teacher advised me to redraw the areas that were off – mostly the arms and curve of her back.

Image previews tiny so you can decide whether they’re safe for work or not. There’s very little detail but it’s still a nude. In an artistic context! An artistic nude, if you will.

For our life drawing classes, we’ve been given a term-long project – reproduce a Lucian Freud work. The image that I am aiming to replicate is below:

The aim of this exercise is to learn about using line direction like contours – finding the planes of the face and so forth.

My progress as of yesterday is below. Curiously the image I was given to replicate is a flipped version of the image that I seem to be able to find online. It’s possible that one is of the original etching and the other is from images taken off that etching? Who knows?

Last week’s homework was to create two images that were hybrids of two objects that were randomly assigned to us. Each image needed to have one of the objects stand out as more dominant than the other.

Here are my attempts. Can you tell what the objects are, and which is supposed to be the dominant one in each image?

Does this one give things away too much?

Some things I’ve learned about depicting objects using tone:

• Work from light to dark, covering the whole image with each layer of tone.
• Use circular movements to apply pencil strokes, so that the direction of the strokes don’t interfere with the shading.
• The human brain is capable of filling in lots of information. There’s no need to use a line to define an edge when the viewer can imagine it.
• Squint! Let the shapes blur into each other and then work out what the main tones throughout the piece are.

Here are my last three homework pieces, all focused on practising the correct application of tone:

A polystyrene ball and toilet paper roll. Glamorous stuff.

Quite a light application overall, but the shapes are still readable (though my camera might try to convince you otherwise). It was a bit light in the room when I did this one, but it might have been that I was using an HB pencil that resulted in the lightness.

Katamari, soap and mini-dish

Well, my prototype Katamari was an excellent matte white object to draw. Part of me wishes that I composed this differently, with all the objects stuck to the Katamari, but I think this turned out really well. The Katamari was described as a “mutant tennis ball” during last week’s homework review, and other than the soap appearing to tilt upwards a bit (I wasn’t able to erase the pesky lines in the back corner), I got a good response for this one.

Powerboards in charcoal

I like the composition in this one. It has a little more narrative than random objects put together. The plug caused me lots of troubles and the sockets were no walk in the park either! After taking this photo I tweaked the far left shadow and the shape of the top power block. Taking a step back from things really helps to point out errors and inconsistencies. I’m eagerly waiting to hear my art teacher’s critique tonight!

This semester I have been participating in an art course at the Adelaide Central School of Art. The course is focused on drawing accurately from life. This means lots of careful observation and measuring is involved when depicting subjects – it requires lots of patience!

Last week’s lesson was an introduction to drawing organic objects. We were given a pair of ram skulls to draw… with so much information to get onto the page I found it very tricky and didn’t get very far into the picture. The homework went a bit better, even if it did take me around four hours.

Three pairs of shoes

Shoes might not exactly be organic, but the interesting shapes presented lots of challenges. I had to resist drawing freehand and made sure to measure as much as possible. I might have fudged a few bits around the laces, though…

This week we’ve moved from line drawings to tone. Homework: Draw two matte white objects.