Untitled #102

Untitled #102

24" X 36"

Charcoal on Paper

2013

For obvious reasons, shorter poses from life can be difficult because of the limited amount of time you have to work with. On occasion though; things can come together in unexpected ways, as in this 10 minute pose. The model's hugging of the stool displayed a sense of emotional vulnerability which is not often seen. She had a real sense of the acting possibilities that are inherent in life modeling. 

Expressive body language that may be impossible to sustain with a longer pose can be found much more readily in shorter poses, and with a good model who exploits this - it's a real joy.

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. 

Untitled #148

Untitled #148

24" X 36"

Charcoal on Paper

2014

Sara Streeter is a well known model in the Los Angeles area. This 25 minute back pose of her came off well in that I had some time to give attention to the blanket that she was posing on. 

Drapery can really offer dramatic and dynamic lines in the composition of a pose. Especially for my way of working. Drapery, and how it's handled, is also a bit of a personal signature from artist to artist. In my experience, not many workshops afford the time to incorporate background considerations in their set-ups. So it's a welcome addition when something as simple as a well placed bit of cloth is present and adds something of value. 

Untitled #108

Untitled #108

24" X 36"

Charcoal on Paper

2013

Most facial expressions are short lived, but on occasion you will find a consistent expression on a models face throughout the duration of a pose. It's usually not an ebullient one given the strain that life modeling at length can cause, as in this 25 min. pose.

The truth of observation is one of the richest rewards and goals in drawing from life. To see things as they are, and not as we would wish them to be is not often a simple or easy task. Given this, I think it's no small accident that humanity existed for countless generations before the advent of the scientific revolution in Europe. Perhaps due in part to the natural aversion we have to truths that don't conform to the stories we have concocted. It is painful - the truth; but as they say, "No pain, no gain."

It's remarkable to think that so much of the technological and scientific advancements of the last 500 years began just with simply looking, truthfully, at what is in front of us however beautiful or painful*. Faithful observation is at the heart of progress and Life Drawing is a wonderful way to connect with that tradition. 

*The model's hand only presented three fingers to my angle of view. I could have added another one, but hey, that was the painful truth. ; ) 

Untitled #182

Untitled #182

22" X 30"

Charcoal on Paper

2013

Models will oftentimes twist their bodies in an effort to democratize the visual interest of the pose across the spectrum of a room. So the torso will face on direction, the head another, and sometimes the legs and feet another. This two hour pose from life is a good example of this. On occasion it can make what would otherwise be a lackluster pose into something much more dynamic. 

Untitled #39

Untitled #39

24" X 36"

Charcoal on Paper

2013

This was a 25 minute pose from life on newsprint. Although newsprint is non-archival due to the acidity found in most brands, it has unique qualities that I have yet to find in other papers. When working from the figure; the paper exhibits a softness which easily lends itself to rendering common light and shade effects found on human skin. Especially smooth newsprint. 

If you have ever run your hand across a pad of it, you will notice that it has a skin like feel to it as your able to push down on it and the stack rebounds just like skin. The irregular and slightly wrinkled surface of the paper allows for a cushion of air to exist between every sheet, much like how a quilt traps air, and it's this cushion that makes graceful tonal transitions so effortless. 

For soft tonal effects in drawing - something within the mix of tools and surface has to have a giving nature to it. Some artists prefer the tool side via soft willow or vine charcoal, which I use on occasion on other papers, but nothing is as seductive as a soft surface. There aren't many to be found in the world of readily available art materials, but newsprint is one of them.