January 30, 2012
January 28, 2012
January 26, 2012
January 25, 2012
January 24, 2012
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
January 18, 2012
January 14, 2012
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
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.