Michael G's Sketchbook

[Michael Georges]

Last night's model had such character in her face, and the glasses were wonderful to puzzle out!

Also, I scored about 150 sheets of Fabriano 140lb watercolor paper in 30x40 inch sheets...for free! This is the first of many on that paper, it is wonderful!

I toned the ground on this one with powdered sanguine so I could work a bit with the white sticks.

Enjoy!

[Michael Georges]

When model's don't show, the proprietor is often pressed into service. This is Lanette, who runs the Wild Arts Center where I draw each Tuesday, with a "the model didn't show" expression.

I am finding that my traditional way of doing charcoals - i.e., blending with bristle brushes - is really what I need to be doing. Took one along last night and the coverage an ability to get smoother transitions over the texture of the paper is superior over either a chamois or fingers.

I am also struggling with "next morning syndrome" - she looked great last night, and this morning, I see drawing errors in her eyes that last night I just did not see...

[Michael Georges]

Last night we had a beautiful young lady whom I have drawn before - Chantelle. She came in her prom dress and I decided to pull out the paints. I fought the surface like mad all night and really need to prep boards for painting weeks in advance as this was just too absorbent and just sucked the paint in like crazy and I had a devil of a time pushing anything back and forth.

Still, there are things I like about it, so here it is.

[Michael Georges]

I got lucky last night - great model, all the stars in alignment, and the drawing somehow fell together quite nicely. I am pleased with this one.

I have refined my process with these Cretacolor leads over time. I am beginning with the oil stick to define the shape and place features - it is harder and I can draw more subtle lines, then I switch to the chalk sticks to begin rendering values. Again, blending these with bristle brushes and chamois cloth works wonders! Over time, I am learning how to eliminate that "filling in the lines" look.

[Michael Georges]

Susan was a hoot, but she was darn difficult to draw...

She was dark skinned and lit dramatically. Her hair was no more than 1/4 of an inch and the shadow side of her head reflected light that was really fun to try to capture.

I struggled all night with this one and only came out with what I think is a mediocre result. It does look like her, but I am finding that I struggle with the positioning of the mouthbox and the bridge of the nose - those two features tie in as they are both on the centerline of the face and one recedes and the other projects.

But there are things about it I like - the neck area with the necklace in specific.

I think toning the board for her to begin with would have been a good idea since she was so dark to begin with.

[Allan Rahbek]

Michael,
Thank you for your many fine postings lately, I really admire your honest struggle with basic problems. One should never end starting up at a fresh approach.

I have a suggestion that you might want to try at the open studio.
I see some general problems in getting the profile right and I wonder if you settle too soon on the placement of the eyes and then finish them off with highlights and all.

My suggestion is that you draw the profile and the nearest eye only, untill you have the three dimentional headshape correct. Only mark the eye with a darker value and no highlights at all.
Then, but only when everything is in place, you can suggest the far eye. This will give you the freedom to model the head like a sculptor.

I speak from experience and I would like to see if it works for others as well.

[Michael Georges]

Hello Allan and thanks for your reply!

Your idea is an interesting one and I will try it at my next OS session. I do struggle with the proper placement of the eyes - both placement of distance and the plane of the eyes. I am generally drawing out an outline first with basic shading of planes rather than finishing. None the less, I have to work more at proper placement of features and your suggestion is a good one to try.

What I am working out -should be- pretty basic stuff to most portrait artists, but I suspect it is not for many and I thank you all for putting up with my posting of less than stellar drawings on this fine forum.

This is the point. As I say in my signature, drawing is the foundation of all we do as artists. Many of us need work in this area and I am sort of a poster child for the maladies that affect artists today.

I am hoping others will step up and take on this challenge too.