Not everybody has access to a subject for figure study. Figure study is one of those bedrock artistic practices you should always revisit. You simply are never too experienced. You’ll always need to keep the skill sharp –with practice.
I managed –somehow– to not only land a musical collaborator living with me. But my live-in partner is also an experienced alternative and plus-size model. (Contact and other info: http://www.modelmayhem.com/325517). Of course I jumped at the chance when she agreed to a few poses for me to use in sketching. She’s always a lovely subject.
This morning I pulled up the photo files I had taken, and began sketching. (Common wisdom is that you shouldn’t draw from photos, I’ve always done so. I take a lot of photos with a couple cameras I own, so it keeps me in subject matter that interests me. I have had many people tell me it’s not the same, but photos from a good camera are convenient and can be available whenever you get the urge to practice).
The first sketch was in pencil. It feels less than perfect, but adequate…
The first image:
Muse’s pose (she was posed lying on the bed, gazing up at the camera) is really lovely, and there’s a lot of challenges in her poses –foreshortening the lags and abdomen. The harder part was capturing her really quizzical facial expression. I felt I pulled it off in this little sketch.
However, the next sketch I botched. I was starting to get frustrated and getting ready to put pencils down until another day. One thing that helps when a subject is challenging me for whatever reason is to loosen up.
I frequently warned my students about the dangers of becoming to tight and getting stuck just getting details right. When I find myself doing this I back off and do simpler line and gesture drawings. I don’t need to focus heavily on details, and turn my attention to proportion, gesture, and the pose. Get the pose right first, and do it over and over. So, that’s precisely what I did.
Some of the sketches were rather abstracted, others are slightly more detailed. All of them were done in a few minutes a piece, the way one would do in a 5 minute life drawing pose. There’s something I like in pretty much all of them.
Changing my focused work. I turned my attention to some problem areas, and worked them over and over:
In the end, I made several more simplified sketches I was happy with. More sketches to come as I work on them.
It took a while to loosen up my sketching until I was seeing results I was happy with, but it got there. So, snatching a small victory out of an earlier attitude that was pretty defeated.