Untitled #38

Untitled #38

24" X 36"

Charcoal on Paper

2012

This 40 min. contour study was completed the week after I went to see an exhibition of Klimt drawings at the Getty Center in Los Angeles. He was such a master draftsman with pure line, and he had this amazing knack to be able to capture subtle turns of the human head with such sensitive accuracy. As in this study of a child's head:  

The head is tilted along every axis in this study, and all of those small shapes on the child's left side are very carefully placed. Unless the head is propped up against a wall or other structure, this kind of head tilt is typically very difficult for a model to hold with any real accuracy over the length of a session as the muscles in the neck usually get sore.  This is another favorite:

All of these angles are very challenging when drawing from life because even the slightest movement can cause the perspective to shift, which can lead to problems of coherence. This is especially important in drawing out the angle of the eyes, mouth, jaw, and nose. One can imagine if the models head in the bottom study even turned the smallest amount you would no longer see the edge of the eye. Models are always moving in the slightest so these studies must have been a real workout for his visual memory and patience on his part, and the models. 

Untitled #37

Untitled #37

24" X 36"

Pastel on Matboard

2013

This large pastel work from life was created with Pan Pastels. As I've mentioned in a previous post; they make it fairly simple to cover large areas of your working surface in a really short amount of time. So they make it possible to work much larger when working with a model. 

This pastel is also a good example of my working style. Especially in how the hair is handled. Due to the time constraints in working from life and the tendency of hair to be a complex juxtaposition of values and shapes - it is where a lot of artists develop their shorthand.  

Untitled #132

Untitled #132

18" X 24"

Charcoal on Paper

2013

This 20 minute drawing was completed at the Joshua Retreat Center in Joshua Tree, CA. They are kind enough at the center to allow for a local group of artists to get together and draw from the model. It's a beautiful setting that was designed by Frank Lloyd Wright with construction overseen and completed by his son. 

Untitled #176

Untitled #176

16" X 20"

Oil on Canvas

2013

This painting was completed Alla-Prima in about four hours. I typically don't use such a warm ground underneath the work, but I like the way it worked out here. It brings out the neutral blue used in the surrounding background nicely.  

My working method is pretty evident in the way I handled the subjects left ear. It's merely suggested with a couple of blunt strokes. Although I was quite suggestive in this way, I was careful to check the drawing of this painting in a mirror several times during the working session. Straight on views of the head can easily go askew if attention to bi-symmetry isn't given careful consideration. 

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. 

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.