Sketch Book

There is something special about viewing an artists sketch book; the drawings will usually reveal  observations from life and or various creative ideas. It is rare to see the preparatory work included in an  exhibition but when they are combined, it gives a deeper look into the creative process. Sketches that are done in small bound books are not meant to be so-called finished works but they have an energy about them. The viewer will be able to observe visual thinking and invention. The sketches tend to be exciting and fresh because they are executed without any restrictions.

Tonal study from life

This drawing was done on a Canson antique white paper. I rendered this study with simplistic black and white tones.

Life drawing on mid-toned paper

This drawing was done on a mid-toned paper with graphite and white highlights. Some poses speak to the artist immediately and this one had an instantaneous effect on me. This is what I hunt for and most times it is not something that can be preconceived.

New Model-The Sketch Club

Yesterday we had a new model at The Sketch Club. The studio was full and the syncopated rhythm of pencils created a meditative drawing session. The group has been going for almost 4 years now and we are going strong. The "Sketch hunters" are out there, as Robert Henri called them; All we need is a good model and a place to park an easel.

Outside of the city it can be hard to find a good open life drawing session, although a little searching and word of mouth... we can be found.

The drawings below are from 10/27/11 session.

Quick Sketching

This pose was a challenge to capture with in five minutes. The quick poses train you to express the only the essential information.

Wire Gesture

Adding a wire concept to a traditional gesture allows you to explore three-dimensional space.
This quick expressive figure drawing was done in under 3 min.

Problem Solving

The following photos illustrate the masterful progression of W. Bouguereau's working process.

One of the hardest things to learn as an artist is utilizing the power of the inventive sketch. Artists love detail and diving right into a finish. Unfortunately, skipping over the invaluable rough stages causes unsatisfactory results, leading to frustration. I know this well from my early experience as a student...I used to think somehow the magic drawing angels would assist me in going in for the finish as soon as I had the initial concept. After trying this a few hundred times, I realized the importance of this process. Trying to solve problems while crafting a beautiful finish is like trying to sweep sand off of a beach. 

Moving from a thumbnail directly to a finish does not work very well either. Drawing is visual intelligence, it is a game of chess in which a multitude of problems are solved; composition, movement, clarity etc, we deal with this even when we are drawing from the live model...how do we fit the entire figure on the page? In my opinion art should not be an accident; everything must be composed and contemplated. There are some exceptions with the so-called abstract artists, where accidents are a part of their art form. I don't believe that "luck or happy accidents" should be a part of any profession. This reminds me of an interview I heard with the late Miles Davis. Mr. Davis described how he finally got the chance to play in front of a master musician. After miles finished his very abstract and expressive song, the musician asked, "what are the notes you just played?" Miles replied, "no idea." The man replied, if you can't describe the notes you play, your just messing around. Mr. Davis went home and learned every note from that point on.

If your not making changes your are not drawing...

Master of the day

John W. Waterhouse 1849-1917

English Pre-Raphaelite

Life studies

The drawings below are quick expressions done from life. The mid-toned paper drawing was done in about 8 minutes. The interesting thing about quick posses is that you have no time to contemplate the finite details. You are forced to capture the essential information or what your response is to your subject.

Foreshortening/Perspective/Proportioning

The complex nature of drawing the foreshortened figure will quickly illustrate why a set system of measuring is problematic. We know that the figure is generally 7.5 heads tall, ONLY if the figure is standing perfectly straight like a telephone pole. If you were inclined to draw a human fence-post pose, the model's head could be used as a comparative measurement. The head would mark particular points as you move down the figure like the nipples and navel etc; As you see in this figure drawing I had  extreme foreshortening to deal with. No preconceived system of measurement would help in solving the pose. Drawing the figure requires many things, but you must solve the problem at hand, according to the abstract positions of the anatomy. Foreshortened anatomy tends to compress shapes. Visually, the measurements are closer together than they actually seem, requiring...(here is the secret of drawing) Slowing down and measuring the beginning and end of a specific graphic section, in perspective; What is the actual visual distance? (this distance is the three-dimensional illusion that we draw when viewing foreshortened anatomy) This is no easy task... 

 "It is not form but in the understanding of form"-Degas

                                                                    

Creative effort

                     
Quality is never an accident, it is always the result of intelligent effort. (John Ruskin)

                                                                       

Beautifully crafted art cannot be produced by accident ...it can only be created through diligent study, knowledge and passion. Sound drawing skills will be obtained through self initiated practice. In my opinion, too much emphasis is placed on how someone else creates a work of art. However, An understanding of the artistic process is important. The marketing of brushes and pigments that popular artists use may be good information, but it will not be the reason for success. An impressive drawing can be executed with a whittled twig and muddy water. 

We must understand the science of art, but limiting one's expression through another artist's process will produce a mechanic, not an artist. I can watch another artist work all day long; it is fascinating and entertaining to observe, but remember you are watching how that particular artist sees, connects and responds to a specific subject. Artistic demonstrations are helpful but should be limited. The hardest thing to do whether you are learning form a book, instructor or DVD is to extract helpful information that may guide you in finding your process. There are no recipes to solve the multitude of problems you will encounter. Every time the model changes the pose you are given a new problem to solve. If you memorized a system that may get you through the present drawing, but you may be in the weeds in the next? In my early years I can remember just trying to make it through a life drawing ...it can be a frustrating feeling. We all know good figure drawing requires observation, anatomy and drawing skills, but the most important aspect is engaging in the art of exploration of form. We solve problems, through trial and error, not merely copying what is before us. The ability to de-construct our subject and creatively re-build an expressive drawing requires intellect,  focus and risk.

Figure studies

The following drawings were done from life at The Riker Hill Art Park open life sessions. Working from different body types creates excitement and new challenges in the drawing process. Depending on your reaction to the model or particular method of stylization, both will yield unique expressions.