January 24, 2012

Watercolor figure sketches (4)...

Yesterdays sketches from figure drawing session, and these are 10 and 25 minute poses. As usual I have a preference for the shorter ones, as they avoid me to get stuck with details. The best would be if I could manage to keep the energy and simplicity even if the sitting is longer, and I should use the time to let the mix of pigment/water live on the paper and only react to it when needed. 
Right now I try to concentrate on colour, and the ratio water/pigment I should use. This, while trying to be spontaneous, without too many interventions. A little difficult, but practice might help a lot so I will persevere. 

January 20, 2012

Watercolor figure sketches (3)...

I struggle, but I'm decided to find the answers of my own questionings. I hope to get them and to be able to see a progress.

January 14, 2012

Watercolor figure sketches (2)...

Not a very productive session yesterday...
How come that in a "professional" place like this one, they don't know how to make the best out of it? It seems as fact that many of the "artists" assisting to these sessions want to draw with the daylight, which means they don't want to put light spots on, even if it's too dark to draw. Today I could't even see what I was drawing on my sheet of paper! The model didn't have any clear light and shadows on his body. The studio is dark, as they want to keep the character of the place with it's dust and dark aging walls, no light can be reflected from them. Im not against the conservation of historic sites, but maybe there are other ways of doing things in year 2012! And on top of it all, the organization of the poses is not the best, with a long pose in the beginning of the session and the short at the end. Even the model falls asleep right away!! It's very difficult to get the energy back to draw quick sketches after the long one. Some days there seems to be a little more light and energy in the place, but days like yesterday are just hopeless.
This problem is quite common, almost everywhere I've drawn it is more or less the same problem with the lightning. Apart from some exceptional places where the natural light was fantastic. I don't know how it is elsewhere, but in France when we would like to make things change it seems to be very, very difficult.

January 10, 2012

Dry point and sticking to my "good habits"...

I try to stick to my good habit, even though this time I didn't have time to start the engraving before engraving session... Which means I'll loose one week if I'm not able to concentrate only on printing and modifications at site. Well, that's how it goes on, I always have something I didn't do as I optimistically planned. But I don't complain as long as I feel some progress or other satisfactions, so is good enough for this time! : )

Here below is the later work today of the dry point engraving. I'm not quite satisfied so I'll see if I can fix it, once I've found out what to modify. I'm not convinced by the dark border up left, there should be some light coming through. And there might be too much contrast in general, I feel the need of lighter grays, so maybe I will soften some of the darks, if I can manage that.
What I like with this dry point technic is when I work spontaneously with a result that won't need too many corrections. That's what I'm working towards.

Hours of work later... (and we are suddenly end of january!)

to be continued next week... 

Finally several weeks later, the plate is finished. 
I've darkened the bottom part, putting it in the shadow to render the glass jar, otherwise too translucent impression.
In general, instead of lighten my darks, as I said I would above, I've darken the atmosphere around the strong darks. Nothing I calculated very much, but that felt like a natural and logical way to arrange the image. 
Finally, the preparing sketches are much lighter. They help as research and guidelines, but I don't keep stuck to them, just I don't keep stuck to my subjects in general when I draw from life. What's interesting with engravings are the darks with the lights, if the whole thing is high keyed the interest of dry point technic is lost, in my opinion. 

January 03, 2012

Engraving of today...

This is today's work, out of the preparing sketches I did this week-end. For this time I managed to pursue the idea of my "good habit", which is; doing compositional drawing before starting a painting or engraving. I felt much calmer working this way, rather than directly from life.