Don't Plan, Just Respond

completed sketches in charcoal

This is an exercise I tried recently from the book Drawing and Painting People – A Fresh Approach by Emily Ball. When I first browsed through this book a couple of years ago, the attraction wasn’t immediate – I thought the images were a little primitive and childlike, yet at the same time I was intrigued and after reading a few pages my  perception was beginning to change. From the start I couldn’t help but be fascinated by the unconventional approach to drawing and painting the human figure, which for someone who’s approach has tended towards constraint and over-finishing, was very liberating, yet not easy to get used to.

The point of this particular exercise is about just responding to the pose of the model without thinking, so as to help remove fears and encourage spontaneity.  In short, the instructions began by dividing the A2 paper into 16 equal sized portions, or use 16 x A6 pieces of paper. This was to enable drawing a different pose in each section. Next  to try out the model’s pose for yourself before attempting to draw - very important. Begin  by rubbing some charcoal dust into the first section, carefully but quickly following the movement and form. Then draw the pose without looking at the paper or attempting to be tidy. From start to finish, without rushing, each drawing should only take between 30 seconds and a minute. Although I have only tried 3 or 4 of the exercises in the book so far, I’ve found them all so motivating that I intend to return to the book repeatedly in the future. Hopefully if I continue on this path my drawing (and painting) in general will improve the way I want it to. I will have to perservere…

Quick Studies

Another reclining pose in pencil
 on grey paper which I had more success 
with than sketch 1, although it's 
 not very clear on a thumbnail, hands
look more natural than on many 

Some of these sketches were done at home, others at my life drawing group. With most sketches I compared measurements using an outstretched arm and drawing tool.  Generally they improved over the course of the exercise, but the areas I struggled most with were:

Sketch 1 – (not illustrated) sitting/reclining figure with legs outstretched. Because I discovered the left upper leg looked too narrow initially, I restated it three times before I was happy with its proportions. Even then I thought the knee looked too thick but on checking with other areas such as the face the measurements agreed with those on the model. Even though the model was placed sidelong to me there was a noticeable effect of foreshortening on this one.

2. graphite stick

On sketch 2   I used a Derwent graphite stick on sugar paper. I have a couple of other graphite sticks which glide across papers very smoothly but the opposite is the case with this kind. It didn’t seem to behave well and produced a rough gritty sensation on the paper. In places I had to increase the pressure very firmly to define the line more. It isn’t the first time I’ve used this type of graphite, it's just that if the mood takes me I feel ‘drawn’ to the challenge.The negative spaces were very useful for guidance, as long as I  concentrated hard on them.

3. ballpoint pen

Sketch 3 (above right) – black ballpoint pen in sketchbook - 12 minutes.
 Sitting pose. This was timed for 10 minutes but I added on another 2 minutes because I ran out of time and hadn’t completed the whole figure. Gauging the length of the lower legs was the main cause of the hold up. I measured them on the model against the distance between the underarm to where the hip meets the upper leg.

The  drawing below right was done semi-blind - in other words I didn't look at the drawing until I'd completed large amounts of the contours.  I went through a process of drawing from one point to another, then stopping and studying where to go next ie. from the back of the ankle, around the foot to the shin. Then from the shin to the groin area and so on. The combination of using the two pencils taped together for a contour drawing and only very occasional checking , I think has materialised in the figure appearing to flicker, not to mention very liberating. The idea of taping the two pencils together was inspired by a superb book on experimental techniques and the artists who use them - Drawing Projects. Although I deviated from the instructions to a large extent, in some ways I wish I'd had the book before I began the drawing course as  it might have encouraged me to be more adventurous.

 - black pierre noire pencil

Above - two early sketches 

Sketch 4 charcoal on brown paper – 6 mins - not illustrated as has been mislaid, but is similar to the charcoal sketch below right. Crouching pose. Once I’d put in the head and shoulders this sketch progressed well in the time. I felt more confident with the hands, arms and legs and was able to do them quite accurately. Enjoyed the process of drawing the right knee area using rapid angular lines. A pose like this with multiple angles seems easier to do than outstretched limbs, as I can easily see the positive and negative shapes..Also liked the way the charcoal glided over the smooth brown wrapping paper.

charcoal

charcoal

General comments: The toes can be a source of fascination  when they form interesting shapes and angles, but I tend to dwell on them for too long, leaving too little time for other areas.

I find that I’m automatically looking at the shapes and as my figure drawing experience progresses I can generally sense a growing confidence in my ability to judge:

Where things are in relation to one another

Negative shapes

Proportions by sight (sometimes) and see shapes  rather than having to measure constantly.

The location of the line of balance.
Judging the length of legs on a sitting or reclining figure can be a stumbling block. When unsure I divide the figure into portions equal to the length of the head. Even so, the negative shapes are less clear when there are no apparent surrounding positive shapes, and I find the number of divisions is not so clear cut as on a totally outstretched or standing figure. In this case I  use the length of another area on the body as a guide, rather than the head.
Another difficulty is hands -  much more practice needed .
http://annidrisco-draw.blogspot.ie/search/label/quick%20studies

This particular model has 

a voluptuous figure full of 

interesting shapes and curves 

 quick studies
Above left 7 min pose -

weight on right foot causing left hip to tilt downwards

I think the left shoulder  should be tilted up 

slightly more.

Above centre - a selection from a larger series of poses of

mostly less than a minute in duration.