Untitled 63

Untitled 63

24" X 36"

Pastel on Mat Board

1.5 Hr. From Life
2012

Untitled #36

Untitled #36

22" X 30"

Charcoal on Paper

2013

Male models are infrequent at many of the workshops I've been to, so this 1.5 Hr. drawing completed at Angels Gate was a nice change. The male form lends itself much more easily to the way I work in general. This made the process of form interpretation a much more straightforward effort. 

Untitled #242

Untitled #242

9" X 12"

Oil on Paper

2014

I used some larger brushes in the hair for this 1.5 hour study. I always find it aesthetically attractive to use the largest possible brush to describe a form. There is a kind of simple beauty and elegance to a well placed and accurate brush stroke. 

To break down the complexities of nature into simple statements and patterns is an attraction across many endeavors. From simple mathematical equations that describe the nearly infinite variability found in the Universe, to the age old wisdom of the Golden Rule; simple truths hardly ever lose their luster. 

Untitled #64

Untitled #64

24" X 36"

Charcoal on Paper

2012

This 1.5 hour pose was a great set-up and is a good example of my working approach. I've squared off all of the forms on the figure to a somewhat extreme degree. The lighting was a bit tricky as it was behind the model so she was mostly in reflected light for my view. 

Although I believe it's important to accurately observe what is going on with the model, sometimes this can lead to a record in physical discomfort. Especially as you gain more empathy with models through experience. Granted it's difficult to judge, but I don't think most individuals would understand the kind of pain the model is feeling in the leg she is sitting on just by looking at the pose. 

The most common experience with the creation of visual imagery for people in the modern era is via photography. Snap it and you're done. This can really lead to a corrupt understanding of just what goes into making a work of art. Not only on the part of the artist, but all parties involved in the creation. 

Perhaps that is one of the greatest gifts of painful experiences, whether they be physical or otherwise - they provide a way of empathizing with others in a more meaningful way. When things are too easy or simple, you lose this reference frame, which robs you of deeper connections to the people and the world around you. No pain, no gain. Even for artists and models.

Untitled #48

Untitled #48

24" X 36"

Charcoal on Paper

2013

I used an atmospheric perspective approach on many of the forms in this 1½  hour pose from life. I've found it useful for conveying a sense of depth for poses that are very foreshortened. 

I've squared off many of the bony landmarks just under the skin as well as they were quite prominent on the model. Especially in the knees, and at the top of the humerus - or arm bone. The model's features were a good fit with my approach to simplification and exaggeration.

Untitled #14

Untitled #14

22" X 30"

Charcoal on Paper

2012

Around 2010 or so I began to use some of the Pan Pastel Sofft Tools when working in charcoal from life. While they do have their limitations with respect to getting a tight hard edge; nothing comes close to the way they leave a mark. Another idiosyncratic distinction is that it often takes a bit of work to fill the tooth of a paper with them, which is a good thing. 

The Sofft tools are very much like sponges or make-up applicators. This softness makes them the perfect tool on a delicate surface like Stonehenge paper. Also, when working larger, you can cover a substantial amount of area in very little time without a lot of vigorous effort. Which is a real virtue when working within the time constraints of a posed model.

Untitled #110

Untitled #110

22" X 30"

Charcoal on Paper

2013

Models aren't always into being naked in front of a room of strangers, as one can imagine. Although, there was an opportunity in this pose to add some emotional depth by way of how the shading was handled. So I used the charcoal edge to give emphasis to the main force of the forms. Vertical in the torso, radial in the legs. This brings the focal point to the collection of shapes at the center of her pelvis, which tells the story of the model's mood just as much as the expression on her face.