Life Drawing at the Pence

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“Eugene” 14 x 11 inches, charcoal in Canson paper

 

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Day 12 – 30/30 Challenge

Day 12 is different in that I drawn this from a live model at Patris’ studio. Again I used mechanical pencils with white charcoal on Kona paper. Made by Handbook¬†Paper Company, it has a light brownish town quality very similar to Strathmore Tan but more texture.

This was a 3 hour pose of a young man from Poland. Patris remarked that he traveled all the way from Poland to model for us. Just kidding. He’s here visiting family. He did a great job in modeling for someone so young.

Day 12 30:30 Challenge @ Patris.jpg

Life Drawing at the Pence

I look forward to going to open studios. They are the stables of my art. They allow to practice techniques that I had learned.

With this particular 1 hour pose sketch, instead of starting with a gesture as I was taught, I started developing the head and slowly moving down to the feet. I noticed I was observing more, drawing what I see.

With an one hour pose, I found it easier to carefully draw.

Mandy @ Pence 122315

The two, 5 and 10 minutes sketches can be seen on my Facebook page. Materials I used was mechanical pencils and white charcoal on Kona paper.

Ashley

Paintings based on quick sketches done during a life drawing session. The first with the model on her knees is a 5 minute sketch. The second is 10 minutes.

Great exercises to create volume with the Zorn palette. I’m thinking cylinder. Forming the cylinder with half-tones near the edges to lighter values. Again I established the light and shadow patterns in the painting. On my palette I create two piles for the light and shadow. The main color is the skin color of yellow ochre and cadmium red. White is added for light areas and black is added for shadows. If I wanted a more yellowish skin tone, I add more yellows; more reds around the cheeks, then a touch more red.

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Ashley on Her Knees, June2015 oillinen 10x8

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Ashley Kneeling June2015 oillinen 10x8

I don’t how long I will continue working with the Zorn palette. But it does help to work with a restricted palette.

Reclining Nude

This painting was based on a quick sketch done during a drop in session at the Pence. I used the Zorn palette of titanium white, ivory black, yellow ochre, and cadmium red. In fact most of my paintings of the figure or portrait has been with the Zorn palette. I’m not quite ready to go into more colors yet.

Up for sale.

Male Model at the Pence, oil, 6 x 8 inches
Male Model at the Pence, oil, 6 x 8 inches

Drop in at the Pence Gallery

5 minute then 20 minutes and finally a longer pose for 60 minutes. Working with charcoal pencils (2B and 4B) on smooth newsprint.

I took up a challenge to myself to work on one pose for that 60 minutes. Striving for a more finish look – developing details. Before I never took advantage of the 60 minute pose…just quick 20 minutes at various angles. There’s no challenge to that because there’s no time to develop. I definitely will now work on longer poses.

My next challenge is to work on toned paper with white charcoal.

5 minutes…5 minute poses

20 minutes…
20 minutes pose

60 minutes…
60 minute pose

Quick Study

This is a quick study of the 6-hour pose. Based on an article I read in the May issue of The Artist Magazine by Felicia Forte, I followed her technique of painting a portrait using just 4 colors: titanium white, ivory black, yellow ochre and cadmium red.

The procedure is drawing the shapes, establishing light/shadow patterns, put in the local skin color and the local shadow colors and finally refining. All four colors are used but in varying degrees depending if it is shadow or light. For instance, the shadow consist mainly of black and red with a touch of yellow. The skin in the light is made up of red and yellow with a touch of white. Highlights are mainly yellow and white with a very touch of red.

This article helped quite a bit as how to use the colors more effectively.

And this is 6 x 8 on canvas paper.

Male Model at SLC