My second daughter Willow at the beach. She could not work out why it was that she could see the flashes in the water, but couldnt put them in the bucket for me,even though she was using her spade. It remains an image of the pursuit of impossible dreams. Only vine and compressed charcoal were used, but a vast variety of applicators. The tooth of the paper is used in a kind of reversal of oil technique,filling the tooth in the deepest blacks, and lightly skimming the surface in the half-lights..The lights and texture of the hat were all done with an eraser, frequently sharpened with a razor.
Attempting to work direct in watercolour with no linework. I see no reason this approach cant be used in any medium.
Washing the oilstick over with a rag moistened with turpentine became a standard technique, but I found I often didn't have time to switch from stick to rag. So I started using the rag itself to draw the line and to rub in some modelling.
This is one of a series of lifedrawings done directly on a tablet in Photoshop on a laptop. It's a bit small (only a 12x9cm tablet) so you can't use your shoulder properly, and the surface is like ice skating. Included more for interest, than for sale.
This was a technique I developed using oilstick. I would draw the light side in one colour and the shadow side another. When washed over, it can give a solidity to the form very rapidly. In life drawing, speed is of the essence, so I have developed strategies that allow me to state more with minimal means.
Skye has the most amazing torso, so lean and yet graceful. A truly classic model. Following up from the tablet drawings, I scanned a conte drawing then photoshopped it. Just an idea that needs development.
This I think is my best drawing to date. I am working in Boston, and am running into "the Riley method" and Bargue and Gerome, and Harold Speed and all manner of drawing "method" My biggest weakness is the ability to judge the curve. Here, they draw by correction, a series of approximations that are refined to the "correct". It is totally alien to what I have been doing. And here, I am totally myself.
I knew the moment I finished this drawing that I had achieved a breakthrough.A twenty minute drawing,in which I developed the modelling in an attempt to use a simplified three-tone system. The basis was yellow ochre on the light side, burnt sienna on the shadow side, then hieghtening the light with white, and darks with umber.
Rudi is an acrobat, or more accurately, teaches acrobats.His musculature has great definition even at rest, which is what makes him a great model. He can also hold poses in tension longer . It was said at the time that drawing ten minute life drawings on such a large scale was an act of either confidence, arrogance,profligacy or stupidity. I agreed.
watercolour. no preliminary drawing, the eye must engage
Dont get male models often, so you have to make the best of them when available. Pure oil stick, in its line form. Oilstick is like hard butter, and leaves a varied mark. You have to roll it between your fingers as you draw, to keep the sharp edge.
just the slightest shift gave a whole new set of problems
these drawings rarely lasted more than 2 sessions ( 2x3 hrs)
I started using oil stick to force myself to simplify. Along with the time limit imposed by the life class, working on A2 paper was a challenge. The oilstick is wiped over with a rag soaked in turpentine to create a wash. In this case I drew with the impregnated rag itself. I loved the unpredictability of it.
One of the drawings from my 1999 exhibition. Oil stick but relying heavily on the rag to draw with. 10 minutes, from life.
Attempting to work direct in watercolour with no linework. I see no reason this approach cant be used in any medium.
Washing the oilstick over with a rag moistened with turpentine became a standard technique, but I found I often didn't have time to switch from stick to rag. So I started using the rag itself to draw the line and to rub in some modelling.
This was a technique I developed using oilstick. I would draw the light side in one colour and the shadow side another. When washed over, it can give a solidity to the form very rapidly. In life drawing, speed is of the essence, so I have developed strategies that allow me to state more with minimal means.
Skye has the most amazing torso, so lean and yet graceful. A truly classic model. Following up from the tablet drawings, I scanned a conte drawing then photoshopped it. Just an idea that needs development.
This I think is my best drawing to date. I am working in Boston, and am running into "the Riley method" and Bargue and Gerome, and Harold Speed and all manner of drawing "method" My biggest weakness is the ability to judge the curve. Here, they draw by correction, a series of approximations that are refined to the "correct". It is totally alien to what I have been doing. And here, I am totally myself.
Rudi is an acrobat, or more accurately, teaches acrobats.His musculature has great definition even at rest, which is what makes him a great model. He can also hold poses in tension longer . It was said at the time that drawing ten minute life drawings on such a large scale was an act of either confidence, arrogance,profligacy or stupidity. I agreed.
Dont get male models often, so you have to make the best of them when available. Pure oil stick, in its line form. Oilstick is like hard butter, and leaves a varied mark. You have to roll it between your fingers as you draw, to keep the sharp edge.
just the slightest shift gave a whole new set of problems
these drawings rarely lasted more than 2 sessions ( 2x3 hrs)
I started using oil stick to force myself to simplify. Along with the time limit imposed by the life class, working on A2 paper was a challenge. The oilstick is wiped over with a rag soaked in turpentine to create a wash. In this case I drew with the impregnated rag itself. I loved the unpredictability of it.
One of the drawings from my 1999 exhibition. Oil stick but relying heavily on the rag to draw with. 10 minutes, from life.