Percy Kelly

Moresby Church and Lowther Pit, Cumbria - Mixed Media

http://www.theguardian.com/artanddesign/2012/feb/24/percy-kelly-painter-hidden-talent

Back in February this year I had the good fortune to discover by chance, an article about Percy Kelly in a Gaurdian review by Blake Morrison.  Even before reading a word about him, the drama of this painting held huge appeal for me.  I was also to discover the allure of many of his other works on browsing through it online. 

The scene – set in a coastal village, comes across to me as a wild unstable environment in the way the subject has been handled

A preponderance of free loose brush strokes of dark paint over a light background is accompanied by liberal drips, splatters and dabs. This gives rise to a feeling of flux, as though just before the onset of a storm.  It is an exciting electrically charged atmosphere.

A dark tower standing on a dark hilltop or cliff is silhouetted against a glowing patch of sky. This foreboding presence is a strong focal point very close to the top left edge of the picture. Though relatively small, it is a powerful placement in the picture space as my eyes are naturally drawn first to this upper left portion. Moving diagonally, slightly lower down and over to the right is the church, whose brightly lit surfaces contrast strongly with its thick dark outlines shrouded in deep green and white under a heavy dark threatening sky. Being surrounded by contrasting darker areas  lends visual weight. I would regard this focal area as secondary to the tower as the church has slightly less emphasis.

On reading about Percy Kelly’s personality in the review – in a strange way, being difficult and reclusive only seems to add to his fascination. I can certainly relate to the fact that he was a late starter. He reportedly found it easy to continue painting or sketching nearly every day, despite the roller coaster nature of his life and suffering from depression. It seems remarkable to be able to say (and believe) “Drawing is as natural as walking” and “A piece of charcoal or chalk is as natural as my forefinger”. Judging by his output, I certainly believe it. As someone whose motivation can be erratic it strikes a chord with me, as I would love to be able to feel this way every day.

Course Reflections

There have certainly been times  when my perceived lack of  real progress has given me a real sense of frustration, and judging by some of the results, even taken a step backwards. Trying to take a philosophical view of things, I reminded myself that failures are necessary if one is to learn; if everything was successful the challenge would be diminished, creating a feeling of complacency. The trouble was, it was often only after my tutor had pointed out and explained certain faults, that I could begin to comprehend where I went wrong and why. I'm certainly glad that I altered or even repeated certain drawings because that helped me to obtain a much better appreciation of the various slip-ups I made and how to correct them. As the course has progressed I've felt my confidence grow for taking risks and a subsiding fear of making mistakes. Hopefully that will continue throughout my next course.

What I am learning about other artists and art movements; having a go at deciphering a work of art in the context of its surroundings, is unprecedented. Unless I was following a structured course such as this I know I wouldn’t have taken the time to research other artists or certain aspects of art technique, such as experimenting with a wide selection of media or doing still life or figure drawing,  in anywhere near as much depth. See also Assignment 5

Exhibition - Place Space

Exhibition - Place Space

Exhibition Freedom Within

Venue - The Vision Centre, Cork

An exhibition of paintings, drawings and ceramic sculptures produced by inmates in the Education Unit of Cork Prison.

Many of the works displayed were about life on ‘the inside’. I chose to concentrate on two of these – a painting and a ceramic sculpture.

1. SMcN said he found painting to be a way of expressing his feelings while in prison.

This particular one shows a tiny central figure, which instantly suggests to me a person in in a very oppressive environment. The figure is silhouetted against the red and black floor of a long corridor receding sharply into the far distance. At the end of the corridor there is white light shining through an arched window, throwing a long shaft of light forward again along its length  towards the tiny figure and beyond into the foreground. The effect of this light seemingly throws a long cast shadow of the figure towards the foreground, as far as the lower edge of the painting’s surface. Only the figure’s head and shoulders are cut off here – could this be some sort of subliminal message?

To each side of the figure are six others figures, (three to either side) standing in the shadows, looking gigantic by comparison – they loom over as if motioning towards the ‘prisoner’.

The whole demeanour of these enormous wiry giants, from their dark finish, contours catching whatever small amount of light there is, and white glow in the dark eyes combine to give them a primitive but menacing and possibly, automaton look. The floor beneath them is two tone red and black and behind them a background of two tone blue and black walls darkening towards the top. The two nearest to the centre, especially, are leaning, even walking towards the ‘prisoner’ holding their arms forward in a determined fashion. The stance could be ready to guide the prisoner in some direction – it’s hard to say which. A (remote) possibility is into the distance towards what I interpret as freedom, or, as is perhaps more likely just the opposite, as they appear to be using threats of some kind. There is, I would say, a limited choice as to who or what they symbolize, but certainly in my view, the prisoner here plays the role of victim.   

The whole scenario appears to be a reflection of the behavioural traits of certain individuals both inside and outside prison. It also indicates the effects of spending time in an institution of this type, with its unmistakable atmosphere of bullying and intimidation.

2. Climbing figures by MO'C

Approx 30cm high

Several ceramic figures, dark brown and red with transparent amber heads.

They communicate efforts to escape the cycle of recidivism.

Climbing figures

Starting with the largest figure at the base, with a few more additions they eventually pile up into a heap, forming a kind of human ladder, gradually reducing in size and moving further away, the higher they climb. What struck me about them was, as they become higher and smaller, from the largest figure at the bottom, bent over almost double, to the smallest climbing onto the remote top as if conquering the summit of a mountain, the more determined looking the posture. In a symbolic gesture, the amber heads would be suggestive of beacons of hope. The reducing size of the figures would indicate that the higher they climb the lighter they feel, so are better able to cope with the situation.

This very meaningful work must no doubt be an invaluable tool in helping these prisoner's rehabilitation and in their understanding of themselves.

Assignment 5

Apologies for rambling on in this section - I fear the reader will tire of reading long before reaching the end.

 Looking back, there appears to be a pattern emerging of my being quite comfortable with the  media I've used so far for figure studies - apart from soft pastel that is. Although it isn't  to say I think I'm proficient with most media. Pen and wash haven't figured at all, which seems a shame really. Maybe this was an oversight I should try to resolve, but I think it is precisely the immediacy of dry media that attracts me.   I enjoyed enormously trying out some experimental techniques like subtractive tone with charcoal and eraser (blending and/or hatching) and similarly using pencil (or charcoal) in a loose linear fashion with multi directional strokes then erasing and replacing lines as I drew them – especially easy over paint (see Using Colour 2.). I find Charcoal has the advantage of being very ‘smudgeable’ but the disadvantage of difficulty with detail.  I’m not totally sure why I chose to concentrate on figures rather than portraits for the assignment drawing. I reckoned I needed more experience in this area and it was my main area of focus during this part - Part 5, not to mention the fact that I’ve been going to a weekly life drawing group (with the odd exception) over the past 3 - 4 months, so I decided to continue with figures. I think I also have a fascination with the various angles and shapes made by the human form. Therefore it seemed a natural step to choose the same for my assignment drawing.        See also Course Reflections

sketch 1 - pencil

 When I attempted some sketches for my assignment piece I felt that all 3 of them went a bit haywire – the third being the worst. I tried to sketch quickly, taking a risk by relying on sight only and soon realized things weren’t working out as intended. In the third sketch – which I have destroyed, the head grew larger and larger. The feet were too small in comparison, the legs too puny. I won't say what I thought it looked like, but quite tragicomic, in a way. Even  careful measuring didn't produce the desired results. A slight crisis of confidence ensued causing me to feel as though, despite all my figure drawing practice, I wasn’t improving but getting worse! So I left things alone for a couple of days and fortunately when I returned (with a more relaxed and controlled approach) things went much more smoothly. I have to admit I made careful measurements and noted down many of them in the fourth and final sketch before the finished drawing. 
Ignore the labels on the images themselves - the captions below are correct.

sketch 2 - charcoal

sketch 4 - pencil

I ended up drawing a reclining figure with the head furthest away from me. Although I had done a very similar pose to this in Part 4 (3 Drawings) I wasn’t very pleased with the former drawing, partly as I struggled so much with the foreshortening. Yet I was hankering after the challenge of yet again attempting a foreshortened figure. Their main appeal to me is probably because of the interesting angles and perspectives they create, giving the look of a three dimensional figure moving forward in the picture space - if successful.

Charcoal was the medium I chose, the surface is heavyweight medium textured cartridge paper. I first covered the paper using the side of a stick of scene painter’s charcoal. This is a very similar technique to the one Seurat used to begin many of his monochromatic conte and charcoal drawings.  Then I rubbed it lightly with newsprint to push back the darkness into the picture plane and make it easier to bring the figure forward in space, re-establish the mid-tones if need be and to erase for creating highlights.

The model was illuminated from the right with artificial and natural light. He was positioned below eye level, so I could include much of the surrounding surfaces and objects. These helped to place the figure in context. I included some details of the cushions and soft covers underneath, as I think they also promoted the directional flow, helping to balance out diagonals with horizontal and vertical lines. I tried to give the most emphasis to the feet to help bring them forward and add to the 3 dimensional look. The fingers were difficult – they are so detailed and small in relation to most other features. Also if I included much detail here I was afraid they would detract too much attention away from the feet. So, I only wanted to give them the very minimum of detail, so as to knock them back quite a bit into the distance.  

To help in my attempts at accurate proportions and placement of the figure I did the following: repeatedly checked the negative spaces and measured by making comparisons with the length of one area against another, using the outstretched arm and pencil method. I also marked in the direction lines for angles of limbs and divided up the length and width into equal portions. For the sketch of the final drawing I also used a window mount to help to roughly place in the best way, the figure within the picture plane. With all these checks I think I was well insured from all angles on this occasion.

Finished drawing -charcoal

I tried to feel the direction of the surface plane as I hatched the marks with charcoal and carve out the whites with the corner of cut off pieces of hard eraser. Although I tried it out in earlier exercises, it has been something of a revelation to me to use the eraser as a drawing tool as much as I have, rather than as an eraser for rubbing out mistakes. I now find this technique to be one of the most enjoyable parts of this drawing process.

Conclusion

Certain areas of the drawing at this point, I think, need more work. Leaving an assignment drawing alone at this stage was a test of will power for me, not being something I’m accustomed to - I certainly didn’t have the confidence to do that before. Instead I think I would often put in  too much detail.  I decided not to develop it further as I wanted the choice of being able to return to and tweak it later on, when I am more certain of what needs to be done, if anything and if my tutor suggests it. Now at last I realise it's much easier to add on than take away afterwards. Already I can see that some areas may need softening such as the edge of the shadow under the left upper arm and the vertical lines behind the head, while others need bringing more into focus, such as the feet, which I want to draw attention to a little more. The large highlighted area, I think, needs more emphasis to the right of the figure. Trying not to give the fingers much detail while at the same time getting them to look convincing as fingers, proved to be too elusive. Consequently those on the right under the book, look too dark and chunky around the edges. Perhaps it would have been easier to use a charcoal pencil for these so I could do them more delicately and inconspicuously without smudging the charcoal everywhere. I should try it out. 

It is now becoming almost second nature to discern shapes – their relative size and positions, and measuring, for the most part, has become much easier compared to the beginning of Part 4.  I even find myself wanting the challenge of attempting foreshortened figures in reclining poses, which is why I decided on just that for Assignment 5. Besides being a reclining foreshortened pose, it proved to be a relatively comfortable one for the model. In spite of this the quality of my work has not shown consistent signs of improvement. There have been a few setbacks along the way. Though I would say, because of the practice, that in general I'm finally beginning to approach a subject with more ease and confidence than previously. Fortunately my tutor didn't suggest any re-doing or changes this time, unlike some of my other drawings. I was amazed and relieved with the feedback on this one - here is an extract: 
Assignment piece

'This is a beautiful drawing for this level. It is very well composed and well structured. The use of tone and light is excellent. This drawing has presence and intent and is very well observed and interpreted. The pulling out of light is really working well as is the whole diagonal composition. The drawing has a strong visual impact borne out of hard looking and a determined effort to achieve a successful outcome. It is always good to see successful culminations in assignment five and this certainly is. Put it in your assessment prominently. The prep work for this drawing is good also'. -  one gobsmacked student!

Drawing Workshop

workshop 1
Some fruit, avocado, pear
etc and a candlestick

This is the second drawing workshop I have attended with this tutor Gillian Cussen. Her enthusiasm was infectious and created an atmosphere with strong sense of motivation. We did many rapid sketches of plants and flowers, plus a few ordinary everyday objects. The emphasis initially  was to do huge areas of mark making with various materials - ink, charcoal, pencil using toothbrushes, sponges, fingers etc. - rather similar to the mark-making exercises
on a large format in Part 1.Then, with more directed guidance, rapid drawings of objects while trying to feel the gesture within them, in an attempt to feel the object's dynamic presence. The purpose was to really see what is there and ways of interpreting what you see, definitely not about producing a pretty picture. I think I got more out of doing these than most other workshops I have attended - either drawing or painting and I intend to return again for more of these and similar workshops in the future with this tutor if I feel in need of them. 

workshop 2
Plant and poultry

workshop 1
Driftwood, corkscrew and apple

Above and right comprise of mostly rapid sketches of a selection of subjects, including poultry, in charcoal and pencil, from both workshops 1 and 2. The plant detail (above left) was of the longest duration. Although most of them may look like virtual scribbles, I got a great sense of achievement and possibilities out of it.
http://gilliancussenartist.com/
Taking a quick peep at the artists website it is so apparent how  very free and expressive her own work is - something I aspire to and will have to keep working on....

Tonal Study 2 - Portrait in Charcoal

Portrait in charcoal

White paper

Initial part of drawing took less than 30 mins at my life drawing group.

I found the experience of building up areas of light and tone with a combination of erasing, soft blending and vigorous directional lines and marks quite rewarding. By using thin charcoal sticks adding detail became quite easy.

Doing this drawing gave me yet another reminder of the ever so forgiving nature of charcoal and the ease with which a richness of tone and dramatic contrasts of light and shade can materialize in a relatively short length of time.

After I received the drawing back from the tutor the compulsion to make some alterations to the facial features was overwhelming. Although he seemed to like the drawing I felt these elements looked too severe – and I have to admit, I don’t recall the model’s expression giving me that kind of impression. I reduced the length of the nose and softened the nostrils. I also softened the eyes as I thought they appeared too hard looking and the line of the mouth, also moving it up slightly. 

A frustratingly long time passed just fiddling about with these adjustments before I was reasonably happy that there was actually any improvement. It was exacerbated by not having the model in front of me this time, or even any reference photo/s so I used a couple of portrait images of other people, with similar angles to help as references. 
The result is now certain aspects of both drawings that I prefer over others; the latter version seems to have certain more appealing qualities than the former and vise versa.Though I made no alterations to any parts of the latter drawing other than eyes, lips, nose and chin, my hope is now that I haven’t spoiled its whole atmosphere by making these adjustments. However, I do find it easier to look at than previously, especially around the nostril area. Perhaps adjusting only this area and leaving the rest alone would have been quite sufficient, but any changes to one area  seemed to show up a perceived fault in another area and so on.

When I compare the two versions I notice that the facial profile is now flatter and taken back below the nose. The chin is sharper than before, more so than I think it should be in reality. Then again I think the whole jaw area was too prominent beforehand. It was a mistake to alter the eyes. Strangely I think they were preferable before as they were more defined and varied. The gaze though very intense, was also perhaps more intriguing.

No. 1 - a bit scary!

After alterations, but still looking giving daggers!

Tonal Study 1

Media: Charcoal and soft pastel on cream Ingres paper.

Reclining figure. First I covered the whole paper in charcoal, then sketched in the outlines of the figure.  As I did so I continuously took comparative measurements with an extended arm and pencil. I also checked the shapes and angles formed by the figure’s contours and the negative spaces.

I did find during most of the process that the left hand was very troublesome to get the correct placement, direction and length from the wrist to the tops of the fingers.

Initially I enjoyed doing this drawing until I started adding pastel. When it comes to this medium I really haven’t much faith in my ability to bring things to a successful conclusion. I found that it took longer than I expected to layer the colours – most of which I did after the life drawing session.

At one point I was getting worried that things wouldn’t work but I persevered with very gentle layering – using complementary colours of blues and rusty oranges to give things a lift and to add strength to some of the charcoal shading.  I darkened it a little with dark blue.

One difficulty was that the overhead lighting wasn’t very strong and I had to almost continuously half close my eyes to try and work out where the light was strongest.

Although it wasn't an intentional effect, looking at the finished drawing, to me the setting looks quite theatrical and I can see a subtle suggestion of stage curtains on either side of the figure. 

 I darkened many background areas bordering onto highlighted edges of the figure. I gently skimmed one colour over another, using shades of mostly rusty oranges where the planes are moving outward and mostly blues where the planes recede. On later inspection I realised the blue is a warm blue and appears to pull the background forward I think. Bread worked quite well as an eraser, soaking up pastel in areas where I built up the pastel too thickly.

Tonal Study 

Although I stood back to check the drawing several times during the process, just when I thought I was finished I noticed that the left wrist and hand looked so flat,  it was as if they had been squashed in a mangle. The left elbow was too narrow, the right upper arm trailing downwards, was slightly too short and the right hand was too long. I was able to perform some rudimentary first aid on most areas by gentle erasing, with a putty rubber this time, and doing the necessary repair work, some of which entailed altering the angle of and making narrower, some fingers. Thinking the right hand would be trickier to rectify, I left it alone for fear of making it worse. A small advantage here is that the cast shadow at the end of the fingers possibly help this fault to appear less conspicuous than would otherwise be the case.

The lower leg was also too thick, as being further into the distance than the head it should have been narrower. I narrowed this later on, but now I think it looks a bit shapeless and straight.

I decided the brown colour in the background wasn’t working, it was moving into the foreground instead of receding as I wanted it to. So, throwing caution to the wind this time, I plunged in and rubbed it around on the paper with my finger. Luckily I don’t think it looks too bad now, in most places and even seems to soften the background, although not quite enough. However, because the rusty brown in the foreground pulls the foreground forward I find it too distracting.  Perhaps the warm blue (as previously mentioned) would work better here. Pastel is always a medium I am very nervous about blending incase I spoil the effect completely - this has happened to me before. Soft pastel is a medium I think I really need some expert tuition with before I will start to see much of an improvement.
All in all I feel that I have overdone the blending on the tonal shading of the figure. Despite only using very light pressure, so as not to mix the colours on the paper and adding some short hatched marks in places, to vary the marks and add some texture, it didn't seem to make any significant improvement. On reflection it was a process I didn't enjoy and it wasn't surprising that on impulse I wrote 'I hate this drawing!' in my rough notes.
 I blended the contours and features of many areas, including the head and left hand, in an effort to reduce their definition. I increased the amount of definition around the upper arm more than other areas, so as not to draw attention to too many areas at once, which would be confusing for the eye.This is one aspect, I think at least has worked to some extent.

Georges Seurat Charcoal and Conte Drawings

The apparent simplicity of many of Seurat’s monochromatic drawings is intriguing. To begin, he would cover the paper in charcoal or conte crayon giving an atmospheric effect. Then continue by building repeated layers, modelling dense forms without line, usually with conte crayon, obtaining dramatic tonal nuances. I was to discover later in a tonal study  portrait in Part 5 and Assignment 5 how much I enjoy using this technique.

He had the ability to give drama to apparently simple views inhabited with relatively few shapes. What made them so impressive was the power injected by the way that he drew, rather than the views themselves, strengthening angles with contrasting light or dark passages - certainly a master of chiaroscuro.

Seurat's use of varied mark making is particularly noticeable in my favourite - Drawbridge. He has used delicate lively scribbly marks over comparatively light expanses, injecting an electrically charged energy. In contrast, by exerting heavy pressure to produce the dark somberness of the open drawbridge, causes it to appear almost sinister against the bright sky.

 Drawbridge, 1882-83, Conté crayon and white chalk

  I found a few figure drawings treated in a similar way, with varying degrees of dramatic effect. One those with the most drama was - Maurice Appert, in which there appears to be a boy kneeling on a stool sillhoetted against a surrounding light behind. Below this is a brighter light emanating from underneath a straight horizontal dark band which gradually merges into the more subtle light surrounding the figure. Maybe it's light shining from under a door.  The paper must be untouched here and possibly a slightly whiter paper was used.
link to image http://www.georgesseurat.org/Maurice-Appert.html

Exhibition - Place Space

Saturday 26 November, PLACE SPACE, Wandesford Quay Gallery
Group exhibition of the Backwater Artists Group - professional artists based in studios situated in the Wandesford Quay complex. It is a large old stone building and was formerly a warehouse operating in the Port of Cork.
The gallery is a long room with low ceilings. Lots of natural light floods in from several long windows, plus artificial lighting from directional ceiling mounted spotlights. There are also a couple of small enclosed cell like side galleries with no natural light. Two large paintings (by Angie Shanahan) situated in this area were the docklands paintings (below) displayed as a diptych, amid very few other much smaller paintings. These large paintings made a significant impact on the enclosed; cave like space.

The medium was oils, from what I can recall. The brushstrokes were almost invisible - the smooth finish again adding to their impact.

I noticed a real sense of intense directional pull within these paintings. This in part being due to the angular perspective lines receding into the distance. One of very few exceptions, but a very dominant, yet only slightly curving line is the lower edge of the overhang on the building on the right of the central building, which has a strong angle towards the corner. There are many strong contrasts of light and shade in this composition, particularly around this location, the ground directly below and around the broken part of the roof in the left hand painting.

All these factors seem to do much to enhance the appearance of solid mass in the buildings.  A dominant angularity alleviates the very presence of only a few curving lines. The few large light and dark plain areas appear to be balanced nicely by textured areas.  Although the palette used is minimal (only four colours that I can detect) the inclusion of red as reflected light  appears to add a glow and lift, giving an intriguingly mysterious air.

According to the artist’s statement, buildings, often derelict such as these, have been a focus of her curiosity for a number of years.  To me these otherwise forgotten buildings certainly resonate with a sense of isolation, combined with subtle hints of human company or influence.

Docklands

Docklands 2

Using colour 2

2. Standing pose.

Another version of
a sketch for the
standing pose

I wanted to change the orientation this time for the second drawing of Using Colour.
Again I used the same model as previously. It was taken from a previous 10 minute sketch of a standing pose at my life drawing group. Surely, when I compare with my other figure sketches, this must  be one of the better 10 minute sketches.  I did find however, that copying this sketch for the drawing, a little more challenging than the initial sketch for some reason. 





The surface is cream Ingres paper and the background was covered with leftover acrylic and gesso, applied quite dry. For the outlines of the figure I used dark red marker pen. Immediately afterwards I regretted using this method as it seemed to look too hard and uniform against the background,  I think because of the background's haziness which seems to move in and out from the surface. 

Sketch for
standing pose

At this point I thought about a drawing I had been impressed by in a book of mine called Drawing Projects. It hasn’t been in my possession long and so far I’ve only tried a couple of exercises. The projects are intriguingly experimental and  unconventional. I thought I would take a risk and try out a technique which was totally new to me, but looked quite fun to do.  So I had a go with it, over the top of my existing drawing - after all this part of the course is called Draw and Experiment. I was very hesitant about using this technique at first – afraid to completely ruin it, but what the heck, it’s important to take a risk now and again... otherwise I'm not going to learn much at all.

RB Kitaj Ashmolean drawing - pencil

As with Louis Freund's drawing 'La Pieta', (Research Point, Part 5) the process entailed building up a mass of lines in a multitude of directions. In the drawing by RB Kitaj (right) the lines aren't so densely compacted as to completely obscure the light  or white surface beneath, leaving I think, the right balance between heavy and light.  It seemed to take ages to build up what I considered to be a sufficient density of lines, using the pencil and slashing marks of the eraser. At one point I must have become carried away - applying too much pressure on the surface  with the side of the pencil point (6B pure graphite pencil), as the density of shading in most areas around the figure was such that it obscured much of the light painted surface underneath. The figure's contours on the right were also more obvious looking. These were not effects I wanted. To remedy this I applied further firm rapid long  slashing marks with the corner of the eraser over the background area, frequently continuing over the edges of the figure's contours, until eventually the density appeared adequately broken up. At least I didn't need to fear damaging the paper, as the surface was very tough, having previously been coated with acrylic paint and gesso. The sheen on the paper's surface caused by repeated application of  graphite however,looks at odds with the areas without graphite. Proportion is another area I'm not completely happy about: the model's right arm looks a bit too short. I wonder though if this is partly due to the end of the hand being barely visible. The buttock, although in actuality was rather flat looking, exaggerating its shape would have perhaps helped , as it looks shapeless. 

finished version

This  figure's pose is quite static - various energetic marks applied over and around the subject, have the effect of promoting a feeling of turbulence and energy, in a similar way I think to many of Giacometti's paintings and drawings, whose subjects often also appear haunted or disturbed . Unlike Giacometti though, the surroundings here appear to conflict with  the subject who, rather than appearing haunted or disturbed, looks quite  unperturbed, calm and confident amid the turmoil, in spite of the energy flowing through and around her body. I think there is more similarity in this respect with RB Kitaj's drawing, yet my model  looks less troubled even than the figure there. This is a technique I think  would complement well a figure in a more active pose, if I was to try it out again as I intend. 

Using colour 1

Collage early stages

1. Collage – reclining pose

This figure was taken from a drawing I did at life drawing group. It appeals to me, as the particular reclining pose and the model’s figure seemingly combine to form a wide range of interesting curves and shapes. Further interesting aspects of this pose are the effect of gravity pulling the soft tissues downwards and because she is lying on a hard surface this forces the right hip higher than if the model was on a soft surface. I like the slight diagonal formed from this viewpoint, from the lower right to  the upper left. The hair spreads around in a spiral from the top of the head.

 I wanted to play around with background effects as well as the media for the subject (the figure). I used up some left over acrylic paint from a previous painting and some Quink ink applied as a wash, allowing it to run in places. Before I applied the final coat I stuck on a few torn magazine papers, painted over them, pulling most of them off again before they were dry, inducing a masking or relief effect. I added some white paint splattered on with a toothbrush and dabbed on with fingertips, plus some linear marks of teal blue conte crayon.

 

Collage final stage

Next I sketched in the figure’s outline from the previous sketch (above).  With a few more papers – tissue and newspaper stuck down on the surface, I covered the figure’s outline in places. Then I painted the figure with some very watery white acrylic to maintain some transparency on the newspaper print. Over the top I applied tonal areas with coloured pencil and white conte crayon – this being very useful for increasing the effect of the highlighted areas, while simultaneously softening the transition from mid toned areas.

The effect of gravity and the dark shading seem to have the effect of pulling the figure deep into the fabric of what she is reclining on. While the fabric and the figure combined, appear to be floating around in the dreamlike space of a dark transparent background - the directional brush strokes contribute to the effect. The angular shapes of the slightly paler relief areas act as arrows pointing inwards to focus on the subject in the centre.  
As I so often do, I think I may have overdone things. It probably would have been better to leave it as it was in the early stages. Having an unfinished look may have helped it's appeal, lending more variety. I've virtually hidden the paper and newspaper collage under all the paint and crayon, which seems to defeat the object of using it. 

Line Drawing

sketch for line drawing

This was a line drawing of a figure positioned somewhere between an angle of 45 degrees and side on to the viewer. It would be devoid of tone, so I decided to exaggerate the foreshortening to help give an illusion of depth and take the upper part of the model back into the picture plane.

line drawing

I didn’t expect this drawing to take me a great deal of time to complete, having no need to add tone but how wrong I was! Although I carefully measured almost everything by constantly making comparisons with other areas I’m not convinced that some areas are accurate. If my measurements are correct, I found that I didn’t need to intentionally exaggerate the legs, feet and arms, yet they look very large in relation to the upper torso, head and upper arms. To me the foreshortening looks more exaggerated than in any other seemingly correctly proportioned figure drawing I’ve done. I suppose at least he doesn’t look like a cardboard cut out!

Added to this, after a break, the model moved his arms and feet slightly, despite marking their location beforehand. I really got caught up around the feet on this occasion and had trouble trying to get them to look believable, especially the inside of the left ankle, which I think looks too pronounced and the right foot looks too shallow to me, giving both feet a distorted appearance. I can’t help thinking the head is slightly too small. The model’s feet look excessively long when in reality they are not. On the plus side - he does have a fine bouffant.

Research Point - David, Ingres, Degas, Picasso, Giacometti, Hockney

Jacques Louis David (1748-1825)

Studies after Michaelangelo

David filled his sketchbooks after antique and baroque art but

rejected the rococo tradition. He described contours meticulously.

‘Marie Antoinette on Her Way to the Guillotine’ 16 Oct 1793, pen and ink.

‘Studies after Pietro da Cortona’
black chalk. This is from a fresco
 ‘The Assumption of the Virgin’. 

As an official artist of the French Revolution he sketched victims on their way to the guillotine. This is a very simple looking line sketch, almost a caricature, of Marie Antoinette on her way to the guillotine showing economical and deft use of lines. It encapsulates very well the broken yet dignified expression on her face.

Ingres

Ingres style was Neoclassicism (classical antiquity) and he was the last of the neoclassicist painters – a master of realism.

He was a pupil of David’s.

Ingres lines are very smooth and pure giving his figures a look of flowing elegance. He paid a lot of attention to detail. Infact the stress on line was an important part of his style – delicate but firm.

Portrait of Charles Francois Mallet. Front lighting used here (as in most of Ingres’ drawings) emphasizes the edges. In doing this he followed very much Raphael’s example. In places he has used minimal of broken line to show the saturation of light and bolder on the other side to show the form turned away.

Link to Ingres Miraculous Lines – describes in fascinating detail Ingres career, inspiration and techniques.

Edgar Degas

Woman drying herself after bathing, pastel

Degas was a great admirer of Ingres, whose masterful draughtsmanship was passed on through Degas’ tutor, who was a pupil of Ingres. Yet he also admired the turbulent style of Delacroix. He used a quite linear style in many of his drawings and often reasserted the outlines. The lines of the faces are usually quite controlled, yet the arms or legs for instance, are done in a quick sketchy looking way with numerous restatements. He often used scribbly lines for backgrounds but more controlled parallel hatching strokes for the forms and surface planes of his figures.

One of Degas main concerns was how to convey movement – drawing his subjects from unexpected and unusual angles. This link describes in detail his pre-occupation with movement, particularly in relation to dancers in the ballet.

Pablo Ruiz Picasso

La Sieste (Les Moissoneurs)

La Sieste (Les Moissoneurs), 1919, pencil

Here very fluid curving lines have been used, with little variation in weight, delicately reasserted here and there. This and the soft, voluptuous lines of the contours give form to the two figures.

In contrast Louis Freund’s drawing Pieta, 1960, oil on board,  the lines are wild and frenzied. The contours come and go and singular lines move from one end of the composition to the other in a vigorous exploration.

Louis Freund - Pieta

In Desuudo de espaldas, 1958 (right) Picasso has created a wonderfully expressive drawing with just a few lines.

                                     Alberto Giacometti

Many of Giacometti’s drawings are made up of a mass of often entangled lines, like lengths of wire. This was how he brought about the sitter’s likeness and presence. The turmoil in these  lines appears to give his figures a look of ghostly vulnerability.

David Hockney

Two Dogs – these are two contented looking daschund dogs, delicately rounded and plump. Hockney uses a balance of thin and thicker lines, suggesting just a slight amount of subtle shadow. This seems to anchor them very comfortably in the chair.

Celia Sleeping 1972 – just a minimal amount well placed lines here, which appear to capture the scene perfectly.

In ‘Portrait of Dwight’1979, pen and black ink, Hockney uses multiple short singular and v-shaped directional lines and marks to describe texture in the hair. Loose minimal slightly curving parallel lines describe the ribbing on the sleeve at lower left. There is just an 

Celia sleeping

indication of texture in the closer fibres on the front of the t-shirt
 where the marks are denser and more random.