Sally study

Jean Kelly · 11-14-2002, 06:21 PM

This is a quick charcoal study of Sally, 17" x 14", done on standard drawing paper. It's a possible pose for her portrait. What do you think?

Jean

Mari DeRuntz · 11-14-2002, 08:53 PM

Hi Jean,

I had an unusual response to the model

Enzie Shahmiri · 11-14-2002, 10:00 PM

Mari, you might be right about the observations you have made, but I rather like the pose.
It seems like a moment in time has been captured and that to me is refreshing. It almost looks like someone got the model's attention and just as she turned to look, the moment was captured. It gives the drawing an inquisitive feel.

Remember when Chris Saper was talking about leading the eye into the frame? From the top of her head towards her breast forms a

Mari DeRuntz · 11-14-2002, 10:13 PM

All the same, check out Stanka Kordic's website... even unconventional portrait artists seem to adapt to certain conventions. Any thoughts, Stanka? (I've certainly been off-the-normal-opinion before, but I'm curious what an "unconventional" portrait artist's remarks are, especially since I love your work.)

Regardless, I see some of the same tonal drifting occuring here that Karin Wells remarked on in the other thread. I'm aware of this because I have to guard against the same thing in my work.

Jean Kelly · 11-15-2002, 12:26 AM

Hi Mari, Thank you for your time and comments, and guiding me to Stanka's incredible site. I hope she will comment on unconventional portraiture, and how far the envelope can be pushed successfully.

I purposely contorted this drawing because it is more like Sally's personality than calmly sitting still. Even when reading the paper she is wired like a taut spring. I tried to catch some of her energy, but didn't realize I was making her look so uncomfortable! Are there any other opinions on this? It was only a 40-minute drawing, so I hope she wasn't too sore.

Enzie, thanks, I like capturing the moment, too. The likeness is fairly good, not perfect but getting there. Didn't know that I made a "c" composition, so now I'll have to look that up, too! I was trying to put some "grace" in the pose.

About the tonal quality. I knew I was going to get nailed on this. This is my first charcoal drawing in 30 years, and I have a very heavy hand. I'll have to get more grades than just the soft. If I were to do it again I would also use a toned paper of better quality.

Thanks again for the input.

Jean

Lon Haverly · 12-01-2002, 03:21 AM

I like the candor of this drawing. You did quite well considering how long you have been away from charcoal.

I think the drawing would have been better without the white highlights. I never liked adding white to a charcoal. (I never mix drawing media anyway.) The white highlights are a little overdone in some areas, but overall, I think you have a pleasing style and a good eye for form.

I think the eyes perhaps are a little small. It is sometimes good to error on the side of the eyes being too big than too small.

Jean Kelly · 12-01-2002, 02:39 PM

Thanks for your reply. I believe that you're right on about the white. I will never do it again. Also, her right eye is too far away from her nose, and her mouth is distorted. I am by far my own worst critic. But it was from life, I had fun, and I'll do it again and I won't use any white!

Jean

Steven Sweeney · 12-01-2002, 07:16 PM

Jean,

The trouble you ran into here with the white is very common and shouldn't deter you from experimenting with it in subsequent work.

You just have to keep in mind that the white is for highlights, not to define or describe larger (even if light) value areas. You

Jean Kelly · 12-03-2002, 12:23 AM

Point taken and understood, I think my hand got away from my head!

Jean

Marvin Mattelson · 12-03-2002, 12:59 AM

This is a drawing of a male model by Pierre Paul Prud'hon, arguably one of the greatest draftsmen of all time. He used and intermixed charcoal and chalk on a toned paper. As you can see this technique served him quite well.

Prud'hon considered the position of the light source and how it gradated around the form. The smaller forms diminish in the amount of illumination they receive as they turn around the form away from the light source.

This understanding of the effect of light on form is the main factor which separates the truly great from the wannabe's. This understanding and not technique is what those who aspire towards greatness must master.