Untitled #247

Untitled #247

24" X 36"

Charcoal on Paper

2014

Another 20 min. Life Drawing completed at the dA Center for the Arts (the A is capped for dA) in Pomona, CA. It's fun to work on unconventional compositions like this where the image is tight on the subject. I feel as though when I work towards the edge of the frame it compliments the angular nature of how I work. It's as if the mutual language between the subject's definition and the frame becomes more pronounced. 

Untitled #291

Untitled #291

24" X 36"

Charcoal on Paper

2014

I drew the model Val Benavides' head in this 20 min. life drawing way over size. Typically I like to draw the model's head at life size when drawing or painting a portrait. Although, sometimes it's just plain fun to draw something huge and ambitious within a short amount of time. You really just kind of have to let go. No underdrawing, no planning, just put it down. Almost every passage in this drawing is comprised of minimal definition as there was no time to belabor anything.

Untitled #153

Untitled #153

24" X 36"

Charcoal on Paper

2013

Angles like this can be a bit tricky as they are rather unconventional. Although they can often make for a more interesting composition. Of course it's difficult to make any serious composition plans when the pose is only 20 min. long as in this drawing. This is especially true when working at bigger scales like 24" X 36".  

I'm not a huge fan of 20 min. interval poses when working larger as most of the time is spent trying to get enough down so that you have something worthwhile for the effort. I find 25, 30, and 40 min. poses to be much more rewarding. Even when working smaller. Regardless of the pose length though, it's still a joyous experience to be working from life.

Untitled #119

Untitled #119

24" X 36"

Charcoal on Paper

2014

Drawing or painting from photo reference is not a preference of mine, but for obvious reasons there are undeniable benefits, and for all intents and purposes it is the de-facto working method in a lot of situations. The source of this pose as a photo is somewhat revealed by the angle of view on the model in this 15 min. drawing. Overhead angles are not a common view when drawing from life. Although there is the potential for real dynamism from this angle. 

For me, the greatest advantage of photography as reference in figurative work is holding those moments that prove to be too difficult to persist in real life. Like jumping, pushing, pulling, hanging, outstretched limbs, etc. Transitory facial expressions like smiles are also pretty hard to pull off without a good photo to work from. Although it may never occur to the general public; there is a reason why most people in paintings before photography do not have people smiling ear to ear in them. 

When working from life; it's almost as if your making a three dimensional scan of individuals in your mind. You just get a better sense of how things fit together. The difference between photography and real life can sometimes feel like the difference between looking at a map and actually visiting a place. When people you know, or have met, appear in a dream while your sleeping they usually look convincingly accurate. It's as if your mind is referencing a kind of three dimensional scan like I mentioned above. I'm not sure anyone has ever said to themselves while dreaming, "Hey, something doesn't look right with Bob's mouth.." I suspect this may have something to do with how differently we internalize the dimensional nature of real world experiences.