Tutor report Assignment 5

Formative feedback

Student name Clara Maciulis Student number 513759
Course/Unit Drawing 1: Drawing skills Assignment number 5
Type of tutorial (eg video/audio/written) Written

Overall Comments

Congratulations on completing the Drawing Skills unit, Clara. Your part 5 personal project is well considered, explorative, but with intention. You’ve produced a bold, dynamic series of work, culminating your ideas but allowing room to push and pursue things further in your learning going forward. Well done. You are allowing your research to inform your work and as a result can contextualise your own practice.

 

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

The yoga mat drawings are process rather than product based, the activity of drawing being of central importance, when you used the charcoal on your hands and feet this connected you to your work and subject matter. It may be worth considering video if performance pieces are something you wish to pursue further, have a look at some artists such as Marina Abramovic, the Yves Klein Anthropometry paintings and even consider the likes of Cindy Sherman and Sherin Neshat  as artists to explore in more detail.

I am curious to explore the work of these performance artists. The yoga mat series happened rather spontaneously, out of an urge to express the feeling of the movement during the yoga asana directly. But I am curious where this new path can go.

Your flip book animation is another innovative piece, I enjoyed being able to interact with your work. This whole submission allows me the viewer to really engage. It is a simple work but successful.

Thank you!

 

There are some deeper issues beginning to be explored around feminism/post feminism in your work. I can see the beginnings of exploration about the female image in your collage works. Ensure to read or view the series on youtube of John Berger’s Ways of Seeing, also read Naomi Wolf’s The Beauty Myth. Review dadaism and the history of collage. Look at artists such as Hannah Hoch and Barbara Kruger.

Happy to have so many things to look at and directions to explore! Collage is definitely something I would like to continue experimenting with.

Again the action of unfolding your concertina sketchbook involved me the viewer in the work, in the same way I unrolled the yoga mat drawings and flipped through the sketchbook. You executed this as a continuous line drawing and the result is successful.

 

In this body of work you have experimented with scale and media. There was a danger of becoming illustrative but you avoided it. You’ve reigned in your ideas, sticking with a singular theme and refining your ideas by using your research to inform. As mentioned before you have the beginnings of something to explore and experiment further with.

This makes me so happy to read!

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

You continued your development and understanding of the human form in your sketchbooks. Looking at stance, movement and gesture. Continue to work in your sketchbooks right up to the point of submission for assessment.

Research

Context, reflective thinking, critical thinking, analysis

You’ve selected relevant artist’s work to look at, reflecting about what you like and think works well. Continue to push and delve deeper with your critical thinking as you progress through your studies. Have a look at the book How to write about contemporary art. Great that you are allowing your research to inform your practice, continue to do this, learn from doing.

 

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

Within your artist’s statement you mention you are after a personal drawing experience so although you use yoga as inspiration your work is not about yoga. I think you have been successful in your attempts bringing depth and meaning to your drawings, they are visceral and as you refine and define your ideas further they too will develop.

 

Your blog is easy to follow and your images clear. You are beginning to focus your writing and research, honing in on the important elements. Continue to aim for clear, concise, relative blog posts about your work, be the critic and the artist.

Suggested reading/viewing

Context

I have mentioned some further artists and reading within the body of the report for you to look at in your own time. This is just the beginning of your learning journey so continue exploring and experimenting. Keep working at the technical drawing skills, learn the rules first and then you can break them!

Yes! still a lot of work here 🙂

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Keep up your sketchbook practice right up to the point of submission.
  • Consider how best to present your work for assessment.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Congratulations on completing the unit!

Tutor name Joanne Mulvihill-Allen
Date 19 August 2017
Next assignment due N/A

This last assignment report for this course by my tutor Joanne Mulvihill Allen is so encouraging! I felt a little anxious about sending in an assignment with much experimentation and not really any outstanding final piece, so I am very happy that exploring different scales and media was recieved positively. And this report offers a lot of  suggestions, so many new exciting artists to discover and paths to explore- I am really excited to continue !

Advertisements

Assignment 5

Exploring the human figure through yoga asanas (postures)

In this chapter, I was drawing through a series of yoga postures gathering ideas that I aim to explore now, through a more free and experimental approach.

RED SERIES- watercolor and phototransfer:

DEEP BACKBENDS- The fearbird

“The fearbird” is a personal symbol that comes back to me often, a flutter of wings in the chest when going into deep backbends, and then the release when the pose is completed. A flock of birds, or wings or the stiff frozen bird of fear are images that have often appeared in my drawings before and it is an idea I want to continue exploring.

Here I am in Laguvajrasana imagining a flock of birds released from my heart.

IMG_9004

 

I make a series of experiments in A4 of different deep backbends- inspired by Louise Bourgeois using red watercolor:

It is definitely the last one that I will keep developing. I see the figure in watercolor as it is now, with the “fearbird” as a foto transfer of a flock of real birds. Here some small tests:

IMG_1313

ROOTS

Roots growing through my feet or hands is another image that comes up in several poses like where the contact to the Earth is very dominant. It could be a close up of only the hands or feet with the roots growing.

Finally I crop the figure til only the feet are left- standing still in Samastitih- equal standing- stability and roots.

 

Roughly drawn shapes in watercolor (Louise Bourgeois, Marlene Dumas). But then I am attracted to the mix of the more illustrative feet of the last drawing, combined with the abstract shape of roots or connection.

I am testing various other wet on wet or watercolor approaches, but will stick to the red version with the fototransfer of the birds.

A third image I want to develop is Garbha Pindasana- the embryo in the womb pose. The name alone lends itself to a lot of imagination.

IMG_1316

I am exploring how this can work in a series:

IMG_1327

But it is definitely this version I want to develop:

IMG_1322

This seemed to all fit very well til I got more experimental with the first posture- Garbha Pindasana and realize it really looks weird and difficult to understand if you are not very familiar with the pose (A4):

IMG_0883

I will change for Balasana- the childs pose- a similar message but a simpler shape:

 

These are the final drawings in A4:

In a series it looks like this (3xA4) :

 

I am happy I experimented with fototransfer and explored the postures much more loosely and less detailed, it feels like new territory again. I am rather happy with the two drawings to the right, the feet and the backbend. The womb pose does not quite work yet.


YOGA MAT DRAWINGS

In this experiment I wanted to explore the movement of the yoga practice without focusing on the external shape it takes. So I cut brown packaging paper the size of my yogamat.

IMG_0952

And was drawing the marks left by my hands and feet on this mat. In this first version I was simply outlining the hands and feet with a black Uniball pen while moving through the yoga sequence. In the end I added white ink to clarify some surfaces:

IMG_1127

Here are some details I really like:

 

IMG_1134

IMG_1131

I like the ghostlike character of the lines, but decided to try out a thicker blacker line so I switched to charcoal sticks instead:

IMG_1175

and some details:

Here the smearing of the charcoal created some surface and I like this mix of multiple lines and some tone.

For these two drawings I kept interrupting the practice though, to outline the hands and feet, and now I wanted to experiment with covering my hands and feet with charcoal so that I could leave marks while moving fluidly:

IMG_1153

Details:

This felt wonderful to draw, and I think you can feel the movement, but it all got very smeared. Lastly I added some outlines of the feet in white charcoal to bring back some clearer shape. I am quite happy with this mix of flow and line.

Lastly I repeat the same experiment stepping into acrylic paints, to try and keep the fluidity while preserving the marks as well:

IMG_1219

Details:

In the end I dripped paint and ink over the marks, Jackson Pollock like. This version was really fun but the result is chaotic.

Finally I could of course not resist a photo session of my paint covered feet:

IMG_1034

IMG_1026

IMG_1057

I am really happy with these yoga mat drawings. More with the process than with the results. It feels very much in line with my intention to explore this subject from a personal experiential place, rather than just looking at the shapes of the postures. It was  a very creative and spontaneous process that feels freeing and joyful.


BACKDROP mini animation

I was looking at the series of picture of moving figures by Eadweard Muybridge, and experiencing my first backdrop after a long break- and practicing gesture drawing with action lines… Til it all came together in the idea of this small book of animation.

Every page has one part of the movement of dropping back. Flicking through the book creates a mini animation of the movement with the figure dropping back and standing up again. This blog does not allow videos… but maybe the idea is clear through these photos:

The backdrop happens twice in the booklet, dropping back, down, up, back down and up again.


 

COLLAGE AND LINE – cutting through yoga magazines

Despite my keen interest in the subject, it is rare that I read yoga magazines. I used to work in fashion a life time ago, and I guess I have just had my share of idealized, beautified versions of women, of body, of life. I even feel a little frustrated flipping through these magazines now, but feel satisfaction at ripping them apart and cutting body parts out. As I have mentioned before, my experience of yoga is definitely not only one of serene smiles in the midst of lotus flowers, but rather a tool in working out some rather dark corners. Inspired by the work of Wangeshi Mutu, here I am swinging the scissors for some collage combined with drawings, all A4:

Cosmic Warrior Mama:

IMG_1761

Natureasana:

IMG_1753

Creatureasana:

IMG_1743

Blissful eye:

IMG_1779

I like the slick, clean look of leaving the background white and the figures standing out with a clear shape in the 3 first pages, so I decide to stop here. Originally I had some ideas of adding ink splashes or watercolor, but this “clean look” attracts me more. It also links back to the magazine world of beauty images.


 

ONE LINE FLOWING THROUGH THE SERIES- A CONCERTINA BOOK

Similarly to when I discovered Tracy Emin, when I first looked at Chloe Piene’s drawings, I could really not appreciate them. But now having tried to draw similarly, I start seeing the beauty of them and how they have a very personal language.

Here I have interpreted yogaposes with a ragged flowing loose line, inspired by her work, all A5 :

Downward dog and backbend- these are my favourites and in orange just to try something different. Chloe Pienes drawings are always in black.

 

Lagu Vajrasana and shoulder stand:

Utthita Hasta Padangustasana standing and Paschimottanasana, seated forward bend:

It was again very freeing to use this wild crazy line .

And from here came the idea to draw one line through the series, connecting pose with pose like the breath connects the movement. For this I will use my small concertina sketchbook, that will then unfold to reveal the whole series in one line.

I start by sketching out the “correct” poses ligthly in pencil and then draw with the wilder free line in black pens. This is not the series as I would practice them, it is a sequence that unfolded drawing it.

It is not so easy to photograph- but the end result is a concertina sketchbook with 32 panels:

As it happened over a long period of time, the line is quite different and even in different pens. At times I think it comes close to Chloe Piene’s wobbly line, at times more strict and straight with geometrical elements and at times very “sketchy”.

This is how the series look:

panorama1panorama 2

And some close ups of my favorite moments:

IMG_1893IMG_1885IMG_1879IMG_1867IMG_1862IMG_1846IMG_1834IMG_1822IMG_1816IMG_1813IMG_1852


For assignment 5 , I connected two parts of my life that I love- drawing and yoga. I learned a lot about both! It has been very useful to continue with figure drawing. I love drawing the human body and will definitely continue learning here.

I was afraid I would fall straight into cliches about yoga art with this subject, but although my drawings are still too illustrative at times, I believe I avoided the most obvious pitfalls- not a single “OMmmmm” sign here!

I have really enjoyed looking closer at several contemporary artists work and let myself be inspired to explore their techniques or styles. My approach has become looser and more spontaneous through all these different experiments.

Through this assignment, I created the opportunity to use various media and combinations like watercolor with fototransfer and collage with line drawing, and also very different supports- from yoga mat sized drawings to two different series in tiny books.

Gesture drawing

Practicing gesture drawing again to learn more about the human figure in movement. Here I am focusing on the lines of action.

From online resources, 1 and 2 minute quick drawings:

 

Then I continued with focusing on yoga poses and their line of action.

 

 

Here some quick gesture drawing of poses from the primary series from memory:

Postures step by step

Here I plan to draw some of the Ashtanga yoga asanas I usually practice physically as an exercise in studying the figure in the postures, and to gather ideas in my sketchbook so as to then let go of these precise forms and allow more experimentation and flow.

Starting point: Samastitih, equal standing.

IMG_9282

Raising my arms into “ekam”, the first inhale, feeling the simultaneous pull upwards and downwards, grounding.

IMG_9280

Dwi, trini..

IMG_9279

I am looking for how the pose FEELS. Here I can see the hands and feet growing roots into the ground, connecting. These roots can dominate the drawing. They are an intricate system of letters and words maybe.

This is me doing Salabasana and upward dog:

IMG_9006

I need to take a look at feet and hands..

IMG_9270

Downward dog

IMG_9274

These above poses are repeated over and over again during the practice. The repetition of these more geometrical simple poses in the same drawing could create interesting patterns and shapes.

The warrior sequence:

IMG_9267

Vyrabhadrasanas- the warrior sequence- clearly defining a goal and following it fearlessly. Pointing arrows.

IMG_9261

The triangle poses- geometrical again and possible to build together in sequences, patterns. Here I drew the arms too long and think of playing with amplifying that further- long long arm reaching up.

I also just did some fototransfer experiments ( see separate post) and am intrigued by using dense text that can look like skin. The left side pose would be possible to explore with a bodysuit of small patterns /letters/symbols.

Here some trials of that idea using collage and newspaper:

Connecting heaven and Earth, the arm long reaching upwards and the figure merging with the background. The newspaper parts would be a phototransfer of the yoga sutras of Patanjali in sanskrit for example, or possibly newspaper text in Kannada language.

Padangushtasana and Pada Hastasana- they look very similar but feel different. For Padangushtasna I hold on to my toes, for Pada Hastasana the palm of my hands are under my feet.

I drew these above drawings on old pages of exercises in mark-making and really like the effect- I will use some more old drawings as a background.

IMG_9371

So here I was just having a little fun with an old drawing of strawberries…With pink yogaposes 🙂 The persons like small insects climbing with their funny poses on the huge stawberries.

IMG_9738

Virabhadrasana B- the second warrior pose. Rotating gathering of strength and shooting out towards a goal.

Here I am using a page of sutras in sanskrit from the Fototransfer experiment:

IMG_9736

The pose is Utthita Hasta Padangustasana and not very successful, but I really like the skin like texture of the background and possibly the contrast with the pink Uniball pen, but it has to be done differently.

IMG_9748

A few more poses.. I don’t see how to develop the upper standing poses further, but a close up of the upper body of Utkatasana could be interesting.

Paschimottanasana:

 

Paschimottanasana is an intense forward bend, cultivating humility and looking inward . This is a recurring old image as well, the feeling of a huge weight placed on the back like a huge stone. Sometimes a Mysore teacher will lay on the back to produce that effect and it maybe looks scary but it feels amazing- like exploring inner corners that were previously hidden. Here I tried it out in pencil, black ink and watercolor.

Kurmasana/ Supta Kurmasana:

 

Kurmasana and Supta Kurmasana- the turtle poses-  are the first leg behind the head postures of the primary series. Leg behind the head is an intense hip opener and if the contrary- the backbends- invite to open the heart also emotionally, these poses invite to set clear boundaries and learn to say No. I was playing with the idea of a turtles shell of course because of the name, but will not pursue that.

Prasarita Padottanasana:

Here again I come back to old ideas with the two drawings on the left.  When in this pose, it almost feels like the body gets turned inside out, and there is an intense focus on the space between the shoulderblades. A new “I”, “eye” emerging. And seeing the “fearbird”, my own symbol for hidden fears. This is an idea I definitely need to develop.

Garbha Pindasana:

Garbha Pindasana- the embryo in the womb posture. This is a pose I have never tried drawing before, maybe because it comes easy for me to do but is difficult to draw. Now I see a lot of potential- the name alone brings a lot of ideas.

IMG_9687

I can imagine the posture in a womb like bubble, rather dark and around it again old sanskrit texts , maybe trough phototransfer.

IMG_9798

Some “womb” experiments. I am not sure what media would be the best yet, but this is a pose I am curious to explore further.

 

Here some more details of hands and feet:

 

Marichyasana A, the first in a series of 4. Here it would be possible to play with some more extreme foreshortening:

IMG_0744Some more hands and feet in various stages of tension:

 

Savasana, the corps pose or simply “take rest” is the last pose of the practice and the last pose I will draw here:

 

Part 5: Written element

Exploring the human figure through yoga asanas (postures)

 

Part 4 of this course showed me how much I love drawing the human figure. Yoga has been part of my life for over a decade and here I want to explore the human form through the yoga practice.

I am used to a daily physical yoga practice, that I have had to pause for a moment. Here  I would like to explore the practice through drawing instead. So I will look at the physical aspect of the poses, and still have so much to learn about drawing anatomy. But more than that, I am interested in how the poses FEEL. Less than exploring yoga as a subject, I am searching for a personal drawing experience, just like a yoga experience on the mat.

I see the danger of falling into too illustrative or too anatomical drawings with this subject, so that is something I want to avoid.  Also , if I look at the representation of yoga in the media, it seems to always be linked to beautiful bodies, blissful smiles and lotus flower filled environments.  While this is true too, in my own experience yoga is also linked to the alarm going off before sunrise and a lot of sweat and pain and discomfort that most serious yoga practitioners I have met take on to deal with their own darkness and feelings and addictions.

In my research , I will focus on artists using real/unreal elements or finished/unfinished parts rather than any yoga related  art, and explore artists that have a more personal and emotional way of drawing, like for example Louise Bourgeois and Marlene Dumas. Inspired by Wangeshi Mutu, I will use collage to reinterpret some found yogarelated images combined with patterns, and drawn elements from imagination. “The fearbird” is a personal symbol that comes back to me often, a flutter of wings in the chest when going into deep backbends, and then the release when the pose is completed. A flock of birds, or wings or the stiff frozen bird of fear are images that will surely appear in the drawings.

The first step is however to better my general drawing skills of the human body . To give this some structure, I will follow the Ashtanga yoga primary and intermediate series of asanas (postures) , which I would normally do physically . I will draw through the asanas as an exercise to learn them, and to gather ideas in my sketchbook, but then let go of the precise form and allow more experimentation and flow.

As for most parts of this course, rather than one single final drawing, I see several different approaches of the subject with various experiments using mixed media, incorporating fototransfer and collage as well as experimenting further with ink drawings and bleach.

The yoga practice is a series of postures so it lends itself to a series of drawings. I plan to create a small series on A4, using watercolor and fototransfer. Then experimenting with  bigger support cutting brown wrapping paper to the size of my yoga mat. And finally to use a small concertina sketchbook to flow through the series.

 

 

 

Tutor report Assignment 4

 

Formative feedback

Student name Clara Maciulis Student number 513759
Course/Unit Drawing 1: Drawing skills Assignment number 4
Type of tutorial (eg video/audio/written) Written

Overall Comments

Clara, thank you for submitting assignment 4, it was great to see some of your work in the flesh. You have been ambitious with scale and media. At times you fall into drawing from inside your head rather than closely observing what is in front of you and your proportions suffer as a result, you are for the want of a better word an emotional drawer in that you respond with your heart to what you see, you are expressive and imaginative. Some of the work you have produced for this section is quite exposing and there is almost a sense of pain and vulnerability, I’m unsure if this is intentional. You’ve chosen interesting and challenging poses to draw for the most part, bold and dynamic.

Assignment 4 Assessment potential

I understand your aim is to go for the Painting Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

 

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

  1. Figure study using line

You have been meticulous here, particularly in the second piece, the colour choice of your pen and composition is interesting, it is ephemeral and sits between fantasy and reality. I can see the hard work you put in here, it feels precious. For me this does lean towards illustration and reminds me of those heavily detailed mindfulness colouring books which are super popular in recent years. There is absolutely nothing wrong with this of course but it may be worth considering which degree pathway you would rather be on, drawing is an option on the illustration pathway also so it is something to think about as you obviously have a skill here.

I am happy about the comment of the drawing being between fantasy and reality- something I like to explore further. I would prefer avoiding falling into too detailed illustration though and will be careful with that in the next chapter. I feel more drawn to learn how to express more with less meticulous detail.

 

  1. Figure study using tone

The poses you have chosen are really bold and work well, as mentioned above I think you got lost in the activity of drawing – my guess is you enjoyed yourself but lapsed concentration for observation of detail and proportion, you can afford to be looser and more gestural which would be more forgiving of these discrepancies so if you want to let go then really let go! Check out this student’s work on WeAreOCA.

Wonderful loose and spontaneous looking work! I would love to be able to express myself like that in drawing 🙂 And although my studies in tone maybe look rather quick and loose, they were not and I really tried to work on the proportions so this is definitely something I still need to learn through lots and lots of more practice.

 

  1. A portrait combining line and tone

I think you have been really brave in this section of the course choosing to look closely at yourself. Using Giacometti and Schiele for inspiration you’ve produced a varied series of drawings some more successful than others. Drawing the figure will take more than just a section of this course to master so it’s great you have enjoyed it and want to explore and develop further. Keep looking at Da Vinci’s anatomical drawings for reference. You mentioned yourself that you carried out lots of experiments rather than honing in to produce one drawing for the assignment, I think this is characteristically been you throughout the course, you clearly love materials, exploration and learning and are hurried to find it all out at once. When you allow yourself to focus you refine your ideas, you produce considered works you’ll just have to get into the habit of reigning back every now and again.

 

I particularly like your experiments with ink and bleach and the bleeding vs the linear aspects. I think there is room here for further exploration in part 5. Think carefully about your colour choices as you move ahead, the drawings inspired by Emin are interesting, the pastel contrasted with the black works well. I also enjoyed seeing the Gormley inspired work, I think this sort of thing could work with your yoga poses quite well, where the detail is less important than the pose.

Yes, thank you, this is definitely a line of experimenting to continue!

Continue looking at Louise Bourgeois, also Marlene Dumas, Elizabeth Peyton and Wangechi Mutu. Chloe Piene may also interest you.

I will write a separate post about these artists, but a first quick look reveals a general impression of form and blocks of tone without much detail and pattern- very far from the drawings in line I made for Assignment 4 and definitely a direction I feel more tempted to explore now. Ink and bleach, maybe some watercolor and spontaneous drawing !

I wonder would a concertina sketchbook work if you intend to make a small drawing everyday.

This sounds like an interesting idea to present a long series of small drawings like a practice of the poses, one flowing after the other. Or maybe a long long roll of paper with one pose after the other.

I’m really glad you got to look at the Drawing People book too.

Yes, a very inspiring book!

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

You have produced a mountain of drawings, well done! When you have used yourself and honed in on your torso these works are interesting and captivating, you use coloured pencil sensitively. There are lots of experimental works on a variety of surfaces. The looser, gestural works are more successful than some of the more detailed pieces, continue to practice facial features proportions, hands and feet. The x-ray over drawings are also an interesting, honest series of work.

Loose and gestural- explore further!

 

Research

Context, reflective thinking, critical thinking, analysis

You have carried out extensive research for this section of the course, openminded and tried out some of the techniques in your own work. Continue to do this, marrying your research and making, elaborate on what you think is successful about the work you are looking at and why. Say less on the biography of the artist.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

You always immerse yourself fully in each part of the course and your learning, you produce a large volume of work describing what you are doing on your blog, some of your posts are as a result lengthy but this is to be expected.

Suggested reading/viewing

Context

With section 5 in mind look at the artists mentioned throughout the report, try to focus your ideas and experiments to produce a series of work. Look back through what you have produced and pick out the successful things to take forward and develop, keep in mind your contextual studies to make reference to within your artist’s statement.

 

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Hone in on the successful elements of your work to take forward.
  • Respond with a critical eye to the work of others.
  • Be careful of becoming too illustrative if this is not your intention.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

Tutor name Joanne Mulvihill-Allen
Date 24 June 2017
Next assignment due 31 July 2017

I am very happy with the encourageing tone of the report and excited to try out new ideas for the next Assignment.

 

Back to Life drawing at Pranotos Gallery

Today I went back to a life drawing class at Pranoto’s Gallery in Ubud.

I have spent months studying the human figure for Part 4, so I was very disappointed in my first 5 minute drawings:

But I realized I need time to warm up and was much more happy with the following 20 minute drawings:

And the final 2 times 20 minutes of the same pose:

IMG_9041

I realized I have learned a lot about proportions and feel more confident. In this last drawing I believe I captured both the pose and the expression. What I need to consider more and work on is cropping and finding a more interesting approach. Here I was still just focused on “getting it right”.


Second life drawing class today for this new part of the course.  Today’s model looked like a photo model and posed like in a fashion show. She had an unusually long elegant neck, accentuated by her short hairstyle. (To be honest I would love to draw a less image perfect woman, that feels confident in her body anyway, with some fat and wrinkles and everyday poses..)

Today I was in a better flow and found it much easier to draw the right proportions . I realized that I have learned a lot during this course! Again, I focused entirely on “getting it right” again, not cropping interestingly. I guess it really felt like that is what I want to get out of going there- being able to draw the human proportions correctly and fast.

I used only colored pencils (Caran D’Ache) , these are 5 minute poses:

IMG_9111

10 minute poses with slight cropping

A single 20 minute pose:

IMG_9076

Here I really struggled again and picked up my eraser although I really had intended to NOT use it. It was a frustrating drawing and looks like it too…

The final 3 times 20 min the same pose:

IMG_9124

I am happy with this last drawing. I think the different colours work here, the pose and proportions are ok. I like that I kept the cushion just lightly outlined.

All in all I felt much more relaxed and in control than last time. I see that the gesture drawing exercises are giving some results, so that is definitely something to continue .


Third life drawing class for this part of the course today. I really really liked the model who was choosing really original and interesting poses, instead of looking like a top model on a cat walk.

I struggled with the first 5 minute poses though- there seems to be like a necessary messing up of the first trials before getting into the flow.

I was much more happy with the following ones:

Then the first 20 minute pose- with a bean bag:

IMG_9429

The last 2 times 20 minute the same pose. Today I made a point of cropping some of the poses and not always draw the whole figure:

IMG_9443

I am happy with this drawing. The face worked well and the rest of the upper body. I like that I stopped on time for the legs.

I had a little more time , so tried the same pose in pink Uniball pen:

IMG_9413

I like the scribbly effect and the color, the pose works as well. Here I chose to crop the arm as well which maybe looks a little creepy. I could have chosen a slightly different angle to let the arm be cropped more naturally.

I realize how much I am learning from these lifedrawing classes! This was my last one here as I am  moving countries next week and will have to find a new one there. Hopefully an exciting way to connect to a community of local artists.