Jodie

[Ngaire Winwood]

Thanks Marcus

I wished I had started earlier, I haven't even reached the 200th day of my training (drawing/painting practice) in my whole life yet, I didn't start as a child like most. It is all so new to me. I realise the shoulders aren't good but when the bell goes its a shame you have to stop, but you have this need to want to fix it, somehow. I hope they fix the lighting as I can't gain confidence in reading the tones if I can't see them. I realise when you do become confident that alot of times, you just don't have the ideal lighting and have to rely on your initial training to get you out of situations like you said.

I am in the process of learning light, perspective, mass, planes and the rest before I get too involved in figures/portraits. I am starting to realise just how precious time is and am trying to use it wisely.

I also had trouble with the conte as the squareness didn't allow me to go lighter in the same stroke or maybe I just haven't learnt how yet which makes it as dark and light even though I tried to use halftones.

I had a look at your painting, what a powerful image for the story. They say a lot can be read in a face but also a lot can be read in an image too. Well done and thanks for the support. You are so lucky to have an apprenticeship.

[Debra Norton]

Ngaire,

One thing that has really helped me with my figure drawing is to look at the figure (while squinting) and ask myself - where is the light falling? Then I check my picture to make sure it matches up. Next I take another look and ask - where are the shadows, checking my picture again to see if it matches. I've found that if I try to see both at the same time I usually come up with a mess. And just look for the large shapes at first, then the smaller ones. Squinting helps to judge whether something is with the light or with the shadow.

It also helps to just stand there, squinting, and looking rapidly back and forth from model to picture. Eventually something will "pop out" that doesn't match up. Doing the same without squinting helps too.
Using a black or regular mirror to look at it backwards or upside down helps you check your shapes and your values.

I've never used conte, so I can't help in that area, but have you tried charcoal or pencil? You may find it easier for the half tones. The size of your drawing makes a difference too, in how much you can accomplish in one session.

For a 20 minute pose I think you did very well. Does she stay in the same pose throughout the two hour session or change? Can you work on the same pose for the whole two hours? Do you use sight size or comparative measurement when you draw?

I think you are wise to concentrate on the basics, that will make you a better artist in the long run.

Debra

[Ngaire Winwood]

Thanks Debra for the advice.

No, she changes the pose after each 20 minutes. She did start off with a couple of 5 and a 10 min pose to warm up with but they are all different. I asked at the end of the night is there a chance to have a sustained pose for a detailed drawing and the one in charge said no not in this session. The drawing is 17 x 12.

The lighting is pretty bad and even when I squinted I could barely make out any shadow, I was barely able to see the lights in the hair. Hopefully I can raise this issue, this week. I think the guy who is in charge is a sculpture and maybe he is not interested in light effects?

[Marcus Lim]

Hi Ngaire,
Yes, the squarish block of conte doesn't help with expressing tones. I learnt to use neutral-toned papers for conte, so that i have less problems with tones for my figures. Otherwise, you can draw by holding the stick at the end with your thumb and index finger, for light workings. But above all, the advice on squinting from Debra drives home the main message for learning to draw figures well.

[Debra Norton]

Ngaire,
I hope things go better for you next week, I think I would get pretty frustrated with only 20 minute poses. I just barely get started in 20 minutes at school! Let us know how things go next time.

Another thought - if she stays with the 20 minute poses, you could concentrate on just one part of her for some of the poses. Hands, feet, face, knees, etc.

Studying anatomy helps a lot too. Last year I took an anatomy class where we sculpted a skeleton in clay and then layered the muscles on it one by one. The result of the class is that now I can work not only from what I see, but my knowledge of what's under the skin. It's helped me to draw more quickly and more accurately.
Debra

[Ngaire Winwood]

Well I went again last night and I asked about the lighting. They said they can't do anything about it. Apparently the building is in line to get remodelled and when ever that will happen they expect to get (hopefully) new lighting.

Debra,
Like you suggested, I think I am going to have to concentrate on a section at a time, maybe work my way down the body.