The organiser was away for this session so I got the model to strike a more compact pose. It also helped that the session was not as full, so I was able to move into a better position. Normally at this session you can get there half an hour before the start and you are still having to squeeze yourself into the little space that is left.
The figure above was sparsely done, using the paper as a tone, but I did like the cushion she rested her arms on.
I did this in about 50 minutes in an evening session where they spend most of the time doing quick poses. I dont normally take my pastels to this session, because of the lack of time. Here I just banged in some primary colours and I was quite pleased with the result.
I normally do these charcoal studies at the evening sessions. You have enough time to make a measured drawing, consider your marks and develop tone. I also find the constant rushing of quick poses leaves me skittish and hyper, like I’ve just consumed five cups of coffee. So before I start these longer 50 minute poses I need to pause, slow down and consider, before I start a measured piece.
And sometimes you wonder why you bothered. Well I tried.
I tried an acrylic painting of this lady at another venue a couple of days earlier and gave up and walked out as there was not enough time to make radical corrections as things went a bit awry. This version in pastels, of another pose, seemed to fall into place easier.
I liked the angle on this pose, in acrylics, as everyone else worked from the front.
The model asked for a glass of water during this session. I thought that it made a nice accompaniment.
This guy looked a bit wary, like we were about to whip away his manhood.
I dont normally like long poses and once again struggled to get all the figure in, but I took a low angle which gave the pose a bit more interest.
I have been doing work in dry media recently after a notice appeared, from the landlord of one of the groups I attend, decreeing that paint should not go down the drain in the building. Despite my protestations that this was a ridiculous constraint for an art group nothing has changed. I even asked the secretary of the group to find out from the landlord what their concerns were and told the secretary how we might reduce blockage risks, but he seemed more concerned with defending the landlord than serving the club and its members – and he still hasn’t got back to me .
Now, after seeing members of the committee disposing of paint down the drain, I might restart my acrylic work. Anyway, before my blood pressure rises any more, here are the rest of my paintings:
At one life group I attend they seem to make things as difficult as they can to work. Here they insist on two models who then turn up late and before the main pose the group decide to do some ‘warm-up’ sketches, as if there is some chance of pulling a muscle when lifting your charcoal. Then as soon as you get started it’s time for a tea break. This is what I managed. I did like the way the female sat languidly in the light, though I think that right knee of the male could do with a touch of remodelling.
This one, at a more organised session, was as much about taking out as putting down. I wanted a rougher feel to the work and think I got it.
Finally a more staid pose, but the turned up foot posed some difficulty.