More from Life class. This time our model was in costume, a là Charlie Chaplin: black top, pants, a boater and long cane. Her point of difference were blue socks and Doc Marten shoes. We didn’t use willow charcoal to start this time, although we were to sketch on A1 sheets of newsprint as usual. A 6B or softer was the order of the day, and contour was the expectation. I loved the way the model had a good sense of her body and how to place it. She stood for the first half of the class, and we began with short poses. The idea with the first sketch was to try and keep the pencil on the paper and make as few lines as possible to form the figure. Our tutor is keen on putting pressure on the lead, so the line is as dark as we can produce. My instincts are for a softer line, but I was keen to try something different.
This week, the group were asked to focus on line rather than form for the quick sketches. I was working on A1 newsprint, pinned to board on a painting easel. This was a rather different approach from the previous class, where I sat straddled on a wooden artist’s Donkey. In that situation I could rest my arm when I chose. With all the poses for this week’s work, I was standing, using the arm and fingers stretched and moving the mediums quickly on the page. The first sketch is in the middle, superimposed by the blue pastel sketch, and last, the pencil sketch of the seated model. We did several more quick poses, using charcoal until the break.
5-10 minute pose using stick charcoal, rubbed with my fingers.
Today I began my first Life Drawing class for some time: one of nine. I guessed that I’d be somewhat rusty; but when the stick charcoal began to side across the newsprint paper, I was in my happy place. I have always loved sketching the human form, and with a very good model it is about as good as it gets. This morning I chose a ‘Donkey’ bench to use, which for the non-arty is a narrow bench, with a stand at one end where aboard rests, and where one clips on paper to use. The user sits astride. Mm, some years have passed since this was may preferred seat for such sketching purposes. Next time, I’ll grab an easel to stand at, and have a Donkey nearby as back-up.
5 minute pose using stick charcoal, rubbed with my fingers
Our tutor guided what mediums we should use for the session, and was I pleased he’d selected stick (willow) charcoal for most of the poses. Charcoal is my favourite drawing medium when it comes to figure studies, and I was pretty happy with these first quick sketches after some absence from the drawing board. Several years back, figure drawing, tutoring and exhibiting was almost a full-time occupation for me. I used to engage models when readying for an exhibition, and grew to know just how vital the connection between model and artist is, to have a successful association. This takes in the models’comfort, giving the model space, and ensuring plenty of breaks throughout. The model needs to feel part of the group, to be shown respect, and not be left feeling ‘it is just a job’. Without the model there would be no life drawing – and for one, I wouldn’t be happy with that scenario.
I am posting just two sketches today, as I have yet to pack my bag for a trip to Christchurch to spend time with my sister. Don’t worry, I’ll be back in time for my class next week, and I shall be posting each week, all going well. I’ll mix the media up over the weeks, and that will be fun. Until then, stay well and keep posting. Vivienne.
Two weeks ago I took myself to see the film Caravaggio: The Soul and the Blood, which was part of the Italian film festival showing in our local cinema. I am a big fan of Caravaggio, and three works in particular, which appear in the movie. To think that I almost missed seeing these works in the flesh when visiting Rome some years back. The accidental way this came about is quite funny, I think, and why I’m reposting the story I wrote in 2018 about this experience.
Before I got caught up in the book hype, I had begun a sketch of two granddaughters that I wished to give as a gift. Luckily I had planned this well in advance of the birthday for the intended recipient. This sketch, like his birthday, is a surprise, but by the time this post goes out, my son should know that his parents and sister from New Zealand are part of that surprise. We have waited two and a half years to get back to Melbourne, and as you read this, that’s where we’ll be, celebrating my son’s birthday. But, back to the sketch… This is the initial sketch of the two girls, where I messed up the younger child. Soon after I started a second sketch of the girls. But instead of completing it quickly, I kept drawing a little then leaving it alone.
Most art lovers will already know of Hundertwasser (1928-2000), an Austrian artist who lived in Vienna for many years of his life, and many will have visited the Hundertwasser House and museum opened in Vienna in the 1980s. But fewer will know of his link to New Zealand. In 1973 he travelled to New Zealand for the first time at the invitation of the Auckland City Art Gallery, where Hertha Dabbert had organised a travelling exhibition of his works. He visited the Bay of Islands during this time, and was so affected by the area that he returned a few years later and bought a farm. An impassioned environmentalist, he lived simply, off the grid if he could, returning from trips abroad, planting thousands of trees, establishing solar systems, and recycling as much material as he was able.
Yes, a continuation of the sea creatures I illustrated for the Save Our Seas book I wrote about three posts back. To recap, I was asked to sketch cartoon characters, paint small scenes, draw a myriad of sea creatures, and a few coastal scenes.I have chosen not to put all the remaining images in here, as it would make the post too long, but I hope you like the cross-section of artwork I’ve selected for this one.
This week thought I’d show you some illustrations from the other book I mentioned last week – Eco-Rangers Save The Planet: Earth-friendly missions for green kiwis, written by children’s author Maria Gill. This book is A5 size, and could be slipped into a back pocket. It’s full of ways young people can think about the their environment and finds ways to keep it healthy. I was asked to draw the two main characters first, and make the boy and girl a bit funky. The book was aimed at young teens, so I looked through a great Taschen book on recent illustrations to get an idea of styles. My work would be grades of back on white, with green and blue being the background print colours.
Some years back, and before writing took hold of me, I illustrated several children books. One was Save Our Seas, by author Maria Gill, who tells a story about the marine environment in New Zealand, based on logbooks from Sir Peter Blake’s New Zealand voyages. I was especially pleased to be asked to illustrate this book, as I love wildlife. And I had around fifty separate illustrations to do.
I have wanted to do some sketching for weeks, but my time has been taken up with producing my new book. I am so pleased to report that all the components of the short story collection are with the printers now, and most of the hard slog is over – until the promotion begins. Yesterday I knew I must have a break, and drawing has always been a great antidote for me, whatever is causing the stress. And so, I began a portrait of a dear friend, to whom I had promised the drawing several weeks ago.
ARTISTRY 