McKinney Drawing Stages

The WIP photos from the project…finally in an animated GIF.

While in progress, McKinney’s eye, head and body all changd shape. His eye started out more vertical and less shaded than it really is. When drawing dogs or cats, completing the eye settles the image.

His head and body shape were too short in my initial drawing. This gave him a pointy head and a strangely foreshortened body. Keep an eye on the left side of the animation and you’ll be able to see the moment the rest of his body shows up…ha!

McKinney is a Great Pyrennes and predominantly white, so drawing him was a study in negative space. This meant I had to really watch it and not overcook the detail.

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Charcoal Sketches on the Train

This evening I was planning on going to figure drawing, but when I got to the gallery there was a note saying it had been canceled. Luckily, I’d taken a little time on the train home to warm up a bit because those warm-ups turned out to be the sum total of all the figure drawing for the evening. Cookies crumble, you know.

The gentleman above was partially hidden from me by the railing. I was on the upper deck looking down on him. He was also very squirmy, and I’ll claim that as the reason I surrendered finishing the drawing.

I just loved her hat. I could never pull it off myself. You have to know your limits when it comes to hats. Certain hats require a certain attitude, and any attitude I might work up would undoubtedly fail me midway through the day, and the hat would sit there like a stolen object. Wouldn’t be able to take it off for the hat head, so I’d just have to wear the evidence of my once assertive, playful, dare I say “jaunty” attitude.

Ah yes, the shoe/foot drawing: Along with the hand self-portrait, it is a marvelous fall-back position when everyone around you knows you’re sketching and they are giving you the hairy eyeball in order to discourage becoming your model. You can only do so many partially obstructed portraits of squirmy people before you must settle on a subject that you can cast your eye upon without accusation. Unfortunately, a fellow passenger needed to get off the train, and he needed to get past me in order to do so. As a result, the pant leg was all ahoo, and nothing I could do would make it drape the same as it had been. Perhaps along with no two same snowflakes, there are no two same cloth drapes, perhaps not.

This hand had one of those marvelously ropy veins running across it, but you can’t tell from the sketch can you? Of course not, and I *ahem* meant for that to be the case. Yeah, that’s it. Despite my failure to depict the vein, I was rather pleased with the sleeve. Lemons, lemonade you know.

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Figure Drawing 9-25-07

The results of last night’s figure drawing session are below. There are elements of each that I’m please with, and elements I of each I don’t like. Ah well, it’s why we practice.

I arrived at the session late (because I wasn’t able to hop an early train out of the city), so this pose was already under way when I sat down. Normally, figure drawing sessions start with a couple of short (1 or 2 minute poses) so you can loosen up an toss lines down on the page to warm up a bit. I walked in on a 10 minute pose. You can see I was dissatisfied with the way the hand turned out. I started to rework it in the corner, but the timer went off.

A decision has been made—I’m going to own up to the flubs. When I started this pose, I’d determined I would jump in at the deep end (hands are always a challenge). This is as far as I got before it felt wrong, and I realized the scale was going to take me right off the edges of the page. One of the other artists in the group makes a ritual out of telling me I should work bigger (on bigger paper). This hand would have worked better on larger paper, and I might have persisted.

This is the same pose, and you can see which hand I started with (and didn’t finish in this one). I’m quite pleased with his left arm and his right leg here, but the right arm and left leg got a little wonky. The proportions of the torso aren’t too bad, but the actual shape is not quite right.

Look! He’s got Abe Lincoln’s chin! Argh!

The last sketch of the evening, and I let loose with the charcoal. It was a short pose—just 10 minutes—so I got messy.

Sketches from Vacation and an Open Figure Drawing Class

I’m going to start by posting the sketches from vacation in Conover, WI so they will appear at the top of the post. The sketches from open figure drawing are probably not suitable for work or for children, so don’t scroll to the end of the post if either applies.

In point of fact, I attended the figure drawing class on September 11th, and the Conover sketches were done on the 19th.

The Conover sketches were done in pencil, and the figure drawing sketches were done in charcoal.

From open figure drawing which is held on Tuesdays from 6-8:30 at Artworks in Kenosha, WI.

Our model’s clavical did not look that strange, nor were his hands so strange. These are all things I must work on, I know.

The benefit of posing the sketches electronically is that I can selectively edit out the miserable failures that did happen during the session. The hands behind the head sketch was a second attempt at one pose. The flippy-toe foot was a third doodle. His toe really did flip up like that, and I just had to have it on paper.

Best of the Evening, but NSFW/C
Ok, I wimped out. Feel free to click on the link above to see my best drawing of the evening. Let me say it again, IT IS NOT SUITABLE FOR WORK OR CHILDREN.

The 3rd drawing was certainly my best of the evening. I was tapped out after doing it, and the light was wishy washy for the last pose (this would be the reason for the amorphous blob reference), so I ended up sketching one of the other artists.