June 18. Studies of body parts and underlying structures:
Standing, seated and lounging, life studies:
The standing figure was done in black charcoal and, just for fun and to experiment, I added a couple of pieces of torn newspaper. I think it worked well and made the image more interesting.
The seated figure is sepia conte stick, black charcoal and white pastel. I’m satisfied with the end result and the fact that I’ve ended up with a drawing that appears realistic in the sense that it conveys the weight of the seated figure well.
The lounging model was done in charcoal and pastels. Again I think I managed to make an accurate drawing of the pose even though in a foreshortened view. Luckily the pose ended before I had the opportunity to spoil it by doing too much!
I’m much more aware these days of the underlying bones and muscles when drawing the human figure, and that has made a big difference to my work. I’m still looking for different ways to indicate the curves and solidity of the body. I came across this image in the catalogue of an exhibition held in New York in 1979/80 entitled, “Henry Moore Drawings 1969-79″,
Reclining Mother and Child – Maquette IV” Pencil and charcoal:
Moore says the catalogue introduction, “Around the late 1920’s, I found a personal way of describing three-dimensional form, using line, without light and shade. I let my pencil follow an imagined horizontal section of the form I was drawing and then change direction, at right angles, to follow the vertical section. these ‘sectional lines’ are a shorthand method of describing three-dimensional form ………..”.
I’ve sometimes during life drawing found myself doing something similar, when the part of the body I’m drawing seems too flat. I haven’t yet taken this method as far as Henry Moore did in the drawing above, but I will experiment with it in future.