And here are some of the drawings I made earlier that evening:
A 10 minute drawing in pencil on cartridge paper, drawn using an "imagined projected technique". What the hell does that mean? Well, basically, when I drew this I was actually facing the model's front, while attempting to draw the parts of the pose I couldn't see - i.e. all the bits you see in this drawing were drawn from the opposite side of the angle depicted. Doing this is a great way to highlight just how carelessly I draw most of the time. It's through such exercises that I hope to improve my level of engagement with my subject. Easier said than done, hence the frustration in that tweet. And the distorted floor. And the impossible torso twist and the vague forms in general.
Here's a 30 minute drawing of the same model sitting down (drawn the normal way):
While not the most frustrating drawing of the evening, it still doesn't hold together for me all the way through. I'm pleased with how the head and shoulders turned out, particularly the tilt of the head and the orientation of the shoulders which together convey the sense of weight I observed in the pose (see detail below)
but I can't say the same for the rest of the drawing - especially from the naval down and across her legs to the floor. It's this lack of connectedness and follow through in the drawing as a whole that represents what I find most challenging at life drawing class.
I find it ironic that I should struggle so much with seeing the bigger picture, when I've been told many times by clients and colleagues that that is one of my strengths. Hmmm. I now choose to believe my own eyes.
There are more examples from this life drawing session that further illustrate my issues with consistency in drawing, specifically proportions and attention to the form. I'll blog these tomorrow.
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