Continuing on from last week, when I showed you the charcoal sketch (see above) which I would be transposing onto an A2canvas. As I am going to take you through that process I thought it would help to include it here as this is the pose I shall continue to work from.
Week Three. In this session we were to work on A2 paper, using pencil or charcoal for our preparatory sketch. No photocopies this week. The model Lulu is similar in build to the figure we had copied in Goldie’s work – the idea being, we were told, was to execute a painting in tones similar to the one we had copied. But first, the pose needed working out, and so a few minutes were spent moving a stool, arranging a cushion, and having the light in an appropriate position to suit both the model and the class. We would be working with this same pose for three weeks. Hard on the model I thought.
I was pleased to be using my favourite drawing medium for this stage. Charcoal is such a forgiving medium and I just love the nuance of tone it allows one.
I worked a little on the painting yesterday, and this is the image here. I left it to dry overnight and returned to it today.
I will work on it a little tomorrow and hopefully it will be done.
I should have waited until the paint had dried to take the photo as every brush stroke is laid bare (unintentional pun).
I have decided to trim the image and focus on the model and not include the barely discernible chair at the periphery of the scene in the original. I think this format works better in my view.
Following last week’s effort, I thought a good deal about how I would approach the second class, realising there was a chance of not been offered any specific way in how to apply oil paints. I decided to progress my painting by instinct; it wasn’t as if I haven’t drawn from life, and although my painting history has revolved around fiddling with watercolour, I have used acrylics before. And, I do know a reasonable amount about colour, albeit using pencils rather than paint. During this session we were encouraged to go and view the original painting again. It was difficult to see the actual paint strokes as it was behind glass but we did agree the painting was lighter in tone and showed the colour more effectively than the photocopies we were working from.
On Saturday I attended my first of six art classes at the Auckland Art Gallery in painting the figure using oils. It’s been over twenty years since I last tried oils, and had all but forgotten what to do, so was keen to gain some new skills. The above image is the one the class was to attempt to paint from; presented to us in photocopied form, the colours even more subdued than the original image shows. We were also handed a slightly smaller version with a grid pattern superimposed. I looked at the grid, knowing it was often used for beginners learning to draw proportions. I hadn’t used one ever for sketching the nude. However, I was keen to do what everyone had been instructed to do, and set about marking up a piece of paper with the same grid proportions.
“To take art off the wall and out of static display. To adorn the body in wildly wonderful ways. To celebrate creativity in a lavish and unique on-stage spectacular that will inspire us all.”
And inspire it certainly does, attracting entries from all over the world, which have audiences looking forward to the annual event with much anticipation and excitement. Especially this year.
I love the way something you buy, whether travel mementos, or presents received or given, stand as markers in one’s life. Take the ceramic teapot I’ve decided to sketch (below), which was the first present I gave my husband not long after we’d met. It was April 1992, and I had the great fortune to travel to Nepal on a 29 day trek with three other women from New Zealand; such a fantastic experience. (Link above takes you to a post from a few years back). The day I returned to my hometown, I helped out a friend with an exhibition opening at our art gallery, and there Kerry was, also helping out. We chatted for ages before parting ways, thinking maybe we just might get to chat some more – sometime. And, surprise! surprise, by the end of the year we were chatting a lot.
A few months back I was in Dunedin, and visited their very good public art gallery. I was thrilled to find an exhibition of works by New Zealander Frances Hodgkins I’d not seen before which were all completed in England. She was in London in 1939 at the start of the war, and for safety reasons I imagine moved to the Dorset countryside. She lived in Corfe Castle village on the south-west peninsula, where she remained until 1945. She was able to move a little between the small villages, and set up a small studio in nearby Croft. Because of the war-time restrictions foisted upon her, she set about documenting the rural life of small villages and communities in her paintings. She was often forced to stay indoors, whether through atrocious weather, or air raids and coastal gunfire. It is testament to the dedication she gave to her art practice that she was able to work under such conditions.
I am lucky to have a husband that enjoys gardening and is chairperson of our local Ngataringa community organic gardens (affectionately known as NOG). A week back he brought home some Seville oranges with the intention of making marmalade and might have, had I not said, ‘I’d like to draw those,’ as the orange of the fruit contrasted perfectly with the green leaves still attached by short stems. I hauled out my very heavy drawing easel ( circa 1960s! with a metal base) and started to arrange pencils and paper needed for the job. Three closely drawn pieces of fruit takes a while, so I started, hoping not to have many delays.
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This year has been one of friends’ dealing with difficult health issues, and deaths, and I was very much affected when learning of each. Just two weeks ago, we were set to holiday on Vancouver Island, and were looking forward to this, when we learned a brother of Kerry’s had died following a long illness. That same day we learnt the health prognosis for a very old friend in Melbourne was far from great. Instant panic, as we cancelled hotel bookings and postponed the Canada flights, while Kerry booked to attend the funeral down south, and we booked another flight for Melbourne a few days later. We had made the right, and best decisions we believe. With other family living in Melbourne we shuttled between various houses, and the 10th floor suite in the CBD where we were based.
Read more: Oh, what could I do to lift my spirits? Why, another sketch of clouds of course!But our main purpose in Melbourne was to see our unwell friend. He has been very busy putting together a volume of his poetry over the past weeks, which had been published and arrived in time for our visit. So good to know that he had this positive project to focus on throughout his treatment, for it has kept his spirits up, that’s for sure, and we are now very pleased to have his book. We enjoyed our time with our friend very much and were so pleased to have moved our holiday plans to later in the year.
A day after our return I learned my brother had fallen and broken his femur, and was due to be operated on in a few days’ time. The operation was done, his hip pinned and he was transferred to the hospital near his home to recuperate. The following day I heard he was in ICU on oxygen and given strong antibiotics for the pneumonia he had contracted. Now, this is when I had to dig deep, to find something that might help me relax and lift my spirits. So, first I did what I know always helps me, and that is to walk. Look to the sky, the trees, the birds, say ‘hi’ to strangers that kind of thing. But once home I didn’t feel like doing anything, but did plan a project for the next day, a sketch.
I heard my brother was improving today and that was the incentive I needed to finish my sketch. The mediums used: water-soluble colour pencils, ink, watercolour, and graphite. PS, the small brown ferry building (centre) was once one of the tallest buildings the waterfront!
I hope you like the sketch Bob (brother) and Barry (friend).
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