Anne - OS Long Pose

Michael Georges · 11-14-2002, 08:20 PM

Well, as promised, here is my first day of long pose class at ASL in Denver. This is Anne and it is a charcoal done live in about 3 hours.

I have a long way to go.....

Michael Georges · 11-15-2002, 11:12 AM

As this is my first really long session - I've taken gesture classes only - I would really appreciate some input and crits on how I can improve.

Rip it up people, this is the first of many.

Chris Saper · 11-15-2002, 11:46 AM

Hi, Michael.

Having benefit of our recent conversation, wherein previous to this open studio, your view of a long pose was 20 minutes, having three hours must be a culture shock! Although three hours isn't enough to really complete anything, at least to most painters

Michael Georges · 11-15-2002, 12:02 PM

Chris: Thanks for your comments. I really had a blast!

Your method of proceeding through the session is really valuable. I did something similar with measuring and placing landmarks. When she sat back down after the first 20 minute break, a lot was different. But I doggedly chased it!

Upon reflection, the things I don't like about what I did yesterday are her eye (too large) and the hard outline on the edge of her face. I also did it on junky paper which I will rectify in my next session.

What amazed me was that I was able to get any likeness at all!

Linda Brandon · 11-16-2002, 05:31 PM

Hi Michael,

Ditto to all that Chris just said, and a few more thoughts on painting in open studio:

You were wise not to try to tackle the whole figure in three hours. I think it's really hard to get a facial likeness, body pose and clothing done all in one sitting.

Be prepared to tell the model exactly how to get back into the right position. You may have to argue with other artists about this, but stick to your guns if you think you're in the right.

Things can move around a lot between separate 20-minute poses, especially hair, hands and clothing. When I'm working on hands, for example, I'll try to leave them for a single session near the end of the time period. Even tiny pose changes make a big difference.

Remember, you are thinking of placing masses on paper, not lines. Keep asking yourself "Where is the light falling?" and "How can I get rid of edges?" Like you, I'm moving back and forth a lot between charcoal and painting these days and it's often difficult to keep those lines out of a charcoal drawing. Luckily, I like to smudge a lot. A chamois helps with keeping everything soft until you're ready to pull features in and out of focus. If you went in with your chamois and softened those lines of the profile it would look more "realistic" right away, don't you think?

People who get really good at charcoal seem to work from the top of the page down to the bottom so that they keep unintentional smudging to a minimum. I never feel quite organized enough to accomplish this but it seems like a good idea.

Give yourself some leeway when you delve into a new medium and technique. If I had the courage, I'd post my first attempts at "sauce", about which Peggy Baumgaertner has written at length. I call sauce "The Revenge of the KGB". Or, maybe, "Crime and Punishment". It is very unforgiving stuff and my hat is off to Peggy for managing it so well.

Best wishes, Linda

Michael Georges · 11-17-2002, 10:37 AM

Linda: Thanks for your input.

I went again yesterday and had a model who was poorly lit with no real strong highlights or shadows. Further, he had pockmarked skin, and a mustache and goatee that obscured a lot of things. It is surprising when you combine these factors how terribly bad your result can be!

I did try to keep the lines at a minium this time and in spite of the factors, it was a learning experience. I chucked the Arches paper I had bought about 1/3 into the class and went and got some Fabrino charcoal paper - world of difference.

Would really love to see your first sauce paintings. We are all friends here and you will be seeing a lot of "dogs" from me in the future - I don't want to be alone!

Chris Saper · 11-17-2002, 09:44 PM

Watercolor is particularly frustrating when you are on someone else's clock. When there are passages that need to to dry, you try to leave them until the five-minute break so as not to lose painting time. I felt like a one-woman Vaudeville show, my board flying off the canvas, running to hair dryer (no extension cord to keep it near the easel), racing back again, and every time, at the wrong time.

Josef Sy · 11-17-2002, 09:52 PM

Hi Michael,

Chris and Linda has some great tips and insight of how they work.

Having drawing from photographs all my life, I also had the problem of translating 3D life to 2D, too. I began to draw from life when I went to university and college. It took some time getting use to but it really helps. Practice and lots of them. Now, I am very fortunate that my work place gives us Life drawing sessions once a week. It really keeps everybody's draughtmanship in tune.

I went to a Michael John Angel 2 day seminar and he mentioned that one has to see the 3D subject as a flat 2D, simplify and measure. Then you go over the drawing each time adding more details.

My critique of your drawing is that the contour lines might be too uniform. It flattens or loses the volume/ shape of the face. I think darkening the background could make some invisible edges.

I hope this helps.

Sharon Knettell · 11-19-2002, 09:30 AM

Michael, I don't think I would be as brave as you, posting a first effort in a long time from a portrait class.

Some things that have worked for me. Squinting, this gives you a better comprehention of value relationships. We have a tendency to focus on the areas that we think are the most important, the eyes, lips, etc. Squinting puts them in proper relationship.

I personally do not like to draw where I don't have control of the model, so I often hire my own. It is worth the money, you can work at your own pace, you have a model you like and you can most often sell the drawing. You can team up with a couple of other artists to save on cost. I post notices on bulletin boards at art schools or art dept. at colleges. I usually pay $ 10 to $ 15 an hour, usually averaging $12, even for a figure model. I also get neighborhood kids even cheaper. Usually other artists have their favorite models and can tell you who is reliable.

I do also go to open figure drawing sessions to keep my draing skills up.

I hope this has helped.

Sincerely

Michael Georges · 11-19-2002, 10:21 AM

Josef and Sharon: Thanks for your comments and encouragement!

Ya know, drawing from life is hard stuff and I want people to participate at all levels of life drawing and painting - that includes me. So if I post my beginnings and progress down the path of "life and light", well maybe others will too and we will have a grand time here helping each other become world-class painters.

I will try to focus on softer contour lines and squinting at my Thursday session.