These first two studies were from my second life drawing session. They are both A2, charcoal on cartridge paper. The model was leaning back suspending her weight from her left knee with her arms. I concentrated on the torso, particularly the clavicles and shoulders, where the tension lies. I think those areas work well but the proportions of the limbs are too small and I failed to effectively deal with foreshortening in the 15 minutes I had.

Here I tried to use tone to establish the different planes of the limbs and torso, again frustrated by lack of time with the pose. The body has solidity and I think the proportions are accurate, but I would have liked to achieve a better finish.

This model was extremely petite with very thin arms and a narrow ribcage. I found these unusual proportions quite difficult to draw initially (there are some really bad 2min studies of her in the post for proj 3 Ex 4) but the quick studies really helped in that session and I was able to produce some pleasing longer seated studies. The model’s lack of any body fat meant that her muscles were well defined and her body leant itself well to the mapping of shapes at macro level for subsequent detail work. She adopted some great twisting poses for us and was utterly still. I really enjoyed doing these drawings.

A2, marker pen on sugar paper, 15 minutes. Pleased with the foreshortening of the right leg and having been able to capture the angle of the shoulders.

A2, charcoal on sugar paper, 15 minutes. I’m pleased with my portrayal of the model’s arms here, particularly the way her right tricep was pushed out by the slight pressure against her side as she leaned on the back of the chair. I feel like the study has a cartoonish quality but I’m not sure why, perhaps because the fabric on the chair is only suggested with rough strokes.

A2 White ‘coal’ on sugar paper, 20 minutes. This was the first time I used this medium, I was inspired by the model to do a tonal study and had just bought this coal, having never heard of it before. The result is unusual and quite skeletal at first glance, but I’m really pleased with it in retrospect; the more I look at it, the more I like it. The shoulder and arm work well, and I like that I got the shadow under the arm right by leaving blank paper and still managed to show the curve of the breast. I spent a while on the area around the knees at the point at which the legs cross, trying to use highlight and shadow to portray the different planes to build the distortions in the flesh caused by that contact.

From a found image:

A2, graphite stick on fine grain heavyweight paper. The photograph that this was drawn from caught my eye because of the line of the spine, and the way the weight of the torso all sits slightly to the right of the central line, counterbalanced by the extended legs

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