Posts Tagged ‘ sketches ’

Cultivating the Sketching Habit: Figure V2.0

Today, when I out to the beer garden event at The Olpalka Gallery (the current show In-Faux-Structureis is fantastic, so you really should check it out) I brought a diminutive mole-skin sketch pad and tried surreptitiously catching people as they interacted with the art. The skill I was practicing was to glance once, and hold the image in my mind long enough (usually about 30 seconds) to get a small sketch.

The resultant sketches are loose, some are somewhat humorous, and make me think of the little sketches that populated the books of Kurt Vonnegut.





It’s been a little while since I have updated this particular page. The sketching events have been wonderful, and I have gotten some great images over the last several months.

Here is a small selection of some of the things that came off my easel. Enjoy!


Figure Study, mixed media on paper, model Kyo


Study, model Kyo, compressed charcoal.



fFigure study, model, Kyo, mixed media on gessoed paper.


Figure study, model Tabbi, mixed media on gessoed paper.



Figure study, model, Tabbi, mixed media on paper.



Figure study, model, Hayley, mixed media on paper.


figure study, model, Hayley, mixed media on paper.



figure study, model Muse, mixed media on gessoed paper.


All these studies are coming from the past couple months, I am hoping to find time to rummage through my port and add a few more to what is here.

Our new model Kyo did a great job tonight. He wants to see images of his modeling, so get them to him if you can:


Adding the images from our previous session. We meet and sketch and drink again, this October 24th.




Study, female figure, graphite on paper. (The note, right is a reminder for me to recreate this image in a series of works done in wet gesso and acrylic paint)


Study, back, male, graphite on paper


Study, female figure, Prismacolor marker


two studies, female figure with lap-harp, right, study of arm and clasped hands.


Dancing, interactive pose, graphite on paper


Back, female, graphite on paper


interactive pose, graphite on paper


graphite on paper


Interactive pose, Casein paint, on paper

Thanks to everyone who attended, and special thanks to the models. Let me know if/how you would like your attribution to appear here). It was a great night for me and a great first night for the event.

Also, I came away with a lot of useful studies and sketches which might serve as jumping off points for other works down the line.

Enjoy the sketches, and keep reading below.


figure studies, female and male, standing graphite on paper



Female standing, male seated, figure study, graphite on paper



Figure studies, female and male, standing, back view, graphite on paper



Male, standing, study with figure aids (was explaining a concept to a class attendee) pencil on paper.


Study, female figure, kneeling, graphite and casein paint on paper


Male figure,seated, graphite and Casein paint


Male figure, standing, graphite and Casein paint on paper



Interactive pose, figure study, graphite and Casein paint on paper.

[continued below]

As many of my readers know, I am getting geared up to start a sketch and sip event at a local club. Since I am the host, it’s not like I can let my sketching game get slack. Nope. It’s time to get to work and pick up some graphite and brushes.

I booked a room at the Albany Barn, and scheduled a session with model, J, who is going to be one of our figure models for the event.

Before I scheduled the session, I talked with my model and I wanted to have a theme or an idea to build the session around so I might then have some images to work into a later piece. I decided on a post apocalyptic theme, and borrowed a Kukri (a type of machete) from a friend.

One of the things that is challenging at first, to learn about drawing figure is you simply do not have time to work in great detail. The key here is make each image a study of gesture, –the shapes you see in the body, light and the pose of the body. The images here are presented out of the order in which I did them. I began with a few short (5 minute) poses in graphite, the sketches done in Molotow acrylic paint markers were slightly longer poses (10 minutes) and the poses in which I used a mixture of graphite and Casein paint were 15-20munte poses.


Pose 1, graphite on paper, model -J



Pose 2, graphite on paper, model -J


Pose 3, Molotow acrylic marker (sadly, the marker, which is metallic and reflective, does not show up well in photographs)


Pose 4, graphite on paper


Pose 5, graphite on paper.


Pose 6, Molotow Acrylic paint marker



Pose 8, graphite and Casein paint


Pose 9, graphite and Casein paint.


Cultivating the Sketching Habit (III)

I’ve started taking around graphite and torn-up sheets of paper around with me wherever I go tucked into my day-planner. The other day, headed to a talented young friend’s gallery show I sketched this out of some trees in Washington Park (Albany, NY)

Graphite on paper.



Today, when I took my son to the library, I did a little sketching with graphite the Molotow Acrylic Paint Markers. The paint markers were part of a recent donation of supplies I received. I have enjoyed using them, and I am learning a bit how to get the most out of them. I know a few artists who use acrylic paint markers heavily in their work, so I have been playing and experimenting with them.

Both images from the book “Digital Photography Masterclass” by Tom Ang. The book itself is a wonderful and comprehensive text for learning digital photography. I gravitate to it because it is full of exceptionally good photography and makes for good sketches and studies.

6.28.16, last sketch in this sketchbook, Form a book of National Geographic Photos, Yemeni Women in a line to Vote, photo by Steve McCurry


From a photo by Steve McCurry, Yemen Women at an Election, Graphite on paper, from a book put out by National Geographic.


A couple more sketches from when I was in the park with my son today.


Study, Tree, Washington Park, Albany, N.Y.. Graphite on paper.



Study, Corning Tower, veiwed From Washington Park. Graphite on paper.





As the weather has gotten nicer, I have been taking a sketchbook with me to nearby Washington Park, here in Albany. The other day, I did a couple quick images of things I saw. (Graphite on paper, all)




I decided to do some sketching out of library books. On Wednesdays, I am always bringing my son to the library, –so, I either catch up on e-mail and web-surf, or I draw for an hour or so.

Today I did the latter


Been doing a bit more sketching while I help my son with his home work. This is again from Tom Ang’s book (see below for full source info)


Older man, from Ang’s book, Digital Photography Masterclass, pencil on paper.


The next several images are from a books on local history including  “Heldeberg Hilltowns,” (by Eberfeld & McLean).



Schenectady Dayline trolley car, pencil on paper, From the book “Adirondak Trail,” by Donalf R. Williams. It is a reproduction of a photographic image.




One-room school house, Rennsylaerville, NY, pencil on paper.



Old Snyder Sawmill, Westerlo, pencil on paper.


The last image caught my fancy, because prior to going into a business of landscaping and selling Christmas trees, my grandfather ran a sawmill, and when I was younger, I remember when that building stood on the property of the business my father –then– ran.



The first piece was drawn from the book “Digital Photography Masterclass” by  Tom Ang. It’s a book about digital photography, butI love to draw from it because Ang’s photos are really good. The really lovely part of this sketch is the model’s face is almost entirely black in the photograph (illustrates using a distant room flash). The sketch was a lot of shading. And I do mean a lot.

I switched between a 2b and 4b to get the shading right. A challenge but fun.


Portrait, Pencil on paper, from Tom Ang’s book “Digital Photography Masterclass”



The second image is from the same book. Admittedly, I have only had occasion to draw a person’s pet once. I have not drawn animals frequently. So, of course, I took it on myself to practice with another image from the book:


Dog, pencil on paper, from the mentioned book.


In the photo, the dog is looking around a corner through a door frame, which is why he/she seems to be missing an ear. Not a great first go, but this is why sketching is important. I have been making more from commissions lately. I’d rather not pass on a commission because I wasn’t comfortable with the work. It is important to vary your work and keep working at those areas that are weaker.

Lastly, I had ten minutes left before it was time to take my son home. I pulled a local history book off the shelves and based this mage off a 1909 sketch by S. Hollyer of Henry Hudson’s ship –that Halfmoon– arriving at the current location of  my home-city, Albany NY.


The Halfmoon, pencil on paper, based on an image by S. Hollyer.

The sketch is very whimsical and very loose. This brings me to an important point: experiment stylistically!!! If you are really tight, do something very quick and loose and with a few lines. If your work is busy, –try something minimalist. For my students that are very young: you are still discovering how you like to create. Experimenting allows you to find your style, to find your own unique artistic voice. There is never just one way to create an arresting image. Goof off. Work fast. But always, always experiment.


A recent sketch I did waiting for my class to start. (6/2015)

Quick sketch before class. Rear of Buffalo State Psychiatric Center (Richardson-Olmstead complex) pencil on paper.

Quick sketch before class. Rear of Buffalo State Psychiatric Center (Richardson-Olmstead complex)
pencil on paper.

Update, 4/10/15 I take my son to the library a couple days a week. He lives with his mother. Between helping him with long division and fractions I sometimes sketch from photography books in the library. These sketches are from a book by Tom Ang that I have drawn from before. Pencil on paper: IMG_0243 IMG_0244 … Update: 3/22/15 Prior to the beginning of class, I did these three studies of people walking in the hall. IMG_0116 IMG_0117 IMG_0118 … Update: 2/28/15 I am adding some more sketches from my sketch book. First some simple studies:

Basil plant, (left) pencil, and brown banana, pencil and charcoal.

Basil plant, (left) pencil, and brown banana, pencil and charcoal.

Figure studies, club dancers, pencil

Figure studies, club dancers, pencil

Edgar, skeleton decoration, w/sash. to the right, Sif the cat, my friend Seamus' cat.

Edgar, skeleton decoration, w/sash. to the right, Sif the cat, my friend Seamus’ cat.

study, figures at a bar

study, figures at a bar

study, park bench with balloon.

study, park bench with balloon.

Finally, I began earlier in the month drawing images from the book “The Lives They Left Behind: Suitcases from the State Hospital Attic.” It’s been a book I have returned to again and again, some of the photos are archived photos of patients from the New York State Department of Health, and some are photos done for this book by photographer Lisa Rinsler. The photos make exceptional studies, and since I do peer work in psychiatric hospitals, and have been in and out of psychiatric care for much of my adult life, the subject is a meaningful one to me personally. I did these studies (of patients who lived in Willard State Hospital during the twentieth century) with what I hope is a great deal of sensitivity. Also, I hope I am not miss-attributing any images that I have used as source material in these sketches: All sketches are pencil on paper: DSCF0006 A better image of Lawrence, who was a patient and Willard hospital’s long-time grave digger. DSCF0010 Another patient, Dymitre, an artist who painted images of his home village while at Willard. DSCF0011 Sister Marie, who was a nun before coming into psychiatric care. DSCF0012  Ethel, at an advanced age by the time this picture was taken. All of the first names used in the book were the patient’s actual names, the last names used in the book were pseudonyms to protect the confidentiality of the patients. This last image is a study of a window in an endangered historic building, in Hudson, NY. This is a window in the First Presbyterian Church, on Warren Street –Hudson’s main commercial thoroughfare. The sketch is in charcoal and pencil:

First Presbyterian Church, Hudson, New York. Charcoal and pencil on paper.

First Presbyterian Church, Hudson, New York. Charcoal and pencil on paper.

[…] Update: 2-9-15 I have been doing a lot of sketching over the last couple days. Most of these are simple studies which I am developing for small works. This sketch though, is one of the more complete renderings i have done over the last couple days.

Pencil on paper, Lawrence Marek, Willard Psychiatric Hospital's (Willard Lunatic Asylum/Hospital for Incurables) long-time grave-digger. photo credit Lisa Rinsler

Pencil on paper, Lawrence Marek, Willard Psychiatric Hospital’s (Willard Lunatic Asylum/Hospital for Incurables) long-time grave-digger. photo credit Lisa Rinsler

The image comes from the book “The Lives They Left Behind: Suitcases from the State Hospital Attic” by Darby Penny and Peter Statsny (photographs by Lisa Rinsler). It was a museum exhibit based on the compiled information in this book that launched my interest in State Psychiatric Hospitals and the patients that lived there. I periodically borrow this book from my local library to read it again. The image here is Lawrence Marek, who was a patient and worked in the hospital’s cemetery from 1937 until his death in 1968 at age 90. This blog by John Crispin talk more about the suitcase project: After this sketch, I am, of course, working on new works for myself, and for the small paintings I have been doing. I wanted to share this sketch though, as well as it’s excellent source material (worth checking out –very much– on its own). Sorry that the image is not the best quality, but I am still without a proper digital camera to take pictures of new works. Hoping some of the work I have currently exhibited sells, so I have an opportunity to replace my digital. Because, there rally are a lot of new works lately. […] Lately, I have been feeling slightly barren of ideas for new works. So, I have returned to sketching a few ideas out in my sketchbook. Two ideas I am developing, today: I am fortunate enough to have my own still model. At times when she is not too busy, she’s offered to pose for me, and I haven’t taken advantage of that nearly so much as I should. In the past she has done art modeling and still modeling. KODAK Digital Still CameraI have just done a simple line drawing. I needed to make sure I can capture the pose. The main struggle here is getting the line of the spine correct when the body is reclined to the side, and since the legs are brought forward, they must be fore-shortened. It is possible I have foreshortened them too much here. I am going to keep working with this pose, there’s probably a larger work coming out of this in acrylic or oil.  The other piece is a simple sketch of an old church in Hudson. The church is currently endangered and there is a strong sentiment in the city to restore and preserve the church. So far as I know, the work is ongoing, both to raise the funds needed, and do stabilization work. KODAK Digital Still Camera There were several other pieces I have done in my sketch book. This first one is of a church that –quite regrettably– met with the wrecking ball locally. This is an image of St. Patrick’s Church, which was recently demolished to make for a new grocery store in Watervliet, NY. KODAK Digital Still Camera There’s a lot of smaller sketches I have been doing, usually during my down times at work. (Get time to sketch when you can take it, is fantastic advice –applies here). A lot of the sketching I have been doing at lately, I have been doing at work while I’m waiting for the class to start. The sketches tend to be of plants in the common areas. There’s also a sketch in here from a book I took out of the library on digital photography, “Digital Photography Masterclass” by Tom Ang. KODAK Digital Still CameraKODAK Digital Still CameraKODAK Digital Still CameraKODAK Digital Still Camera

New Small Works (late 2014-15)

                      [ALL SMALL WORKS CURRENTLY REDUCED, Inquire/make offer]

I decided to do another page of the Small Works Progress Administration. The other has a lot of work on it already and has fallen pretty far down the page as new posts have been added on the blog. These are all small studies I have done, on paper or cardboard, designed to be sold for $15 – $25. As an artist, I want people to think of original art as something that is available personally to them –not as something unaffordable that hangs in galleries or museums.


Adding a few of the images I created specifically for the Destroy Eleven show in Buffalo, NY. The first two images are of the center administrative building of the Richardson-Olmsted Complex, a former psychiatric hospital by a team of the 19th-century’s premier architects of large public buildings.


Small works, “Richardson Complex 1″ approx 5″ x 9” acrylic on gessoed card-board $25



Small Works, “Richardson Complex 2″ approx 5″ x 9”, acrylic on gessoed card-board.

The last new image is of one of my old film SLRs, my Canon Pellix 35mm camera.



Canon Pellix 35mm Camera, approx 5″ x 9″, acrylic on gessoed card-board (sold)

Look for more, coming soon, I have a lot of ideas for these.


Added two more to the pile before running out of steam tonight. A study of a plastic skull, and a study of a gargoyle figurine I have in my house (sans tiara).

I am hoping to do a few more before the upcoming show, but I have stash available already. It’s an “if it happens” thing. But I will be selling these, and any more that get done tomorrow on Friday.



A couple more new:

“Rise,” approx 5″ x 9″, acrylic on gessoed cardboard (SOLD)

“If you’re not on a watch-list…” approx 5″ x 9″, acrylic on gessoed cardboard.

From Washington Park Flower Bed, approx 5

From Washington Park Flower Bed, approx 5″ x 9″ acrylic on gessoed cardboard


Gargoyle, study. Acrylic on gessoed cardboard, approx 7

Gargoyle, study. Acrylic on gessoed cardboard, approx 7″ x 9″ [SOLD]

“Skull candy,” study acrylic on gessoed cardboard approx 5″ x 9″

second image of

second image of “skull candy”


Completed a couple of the small works while I’m waiting for my son’s mother to bring him over for a visit today. For whatever reason, I choose to stick to some Albany landmarks. (Two images follow)

Dr. Suess tree, Washington Park, Albany NY. Acrylic on gessoed cardboard, approx 5

Dr. Suess tree, Washington Park, Albany NY. Acrylic on gessoed cardboard, approx 5″ x 9″ $25

Livingston Ave train Trestle, Albany, NY. Acrylic on gessoed cardboard approx 5

Livingston Ave train Trestle, Albany, NY. Acrylic on gessoed cardboard approx 5″ x 9″ [sold]

There will probably be  few more to come, later this evening.

Update, 6/7/15

Warming up to paint today by doing a series of random things, my partner’s roses and basil plant, and an old endangered church in Hudson, NY, which is a favorite photographic subject of mine:


Rose (1 of 2) approx 5″ by 8″ acrylic on cardboard (sold)


Rose (2 of 2) aprox 5″ by 8″, acrylic on cardboard (sold)


Basil (2 of 2) approx 5″ by 8″ acrylic on cardboard (sold)


Basil (1 of 2) 5″ x 8″ (approx) acrylic paint on gessoed cardboard $25


Presbyterian Church, Hudson, NY 5″ x 8″ approx, acrylic on gessoed cardboard


Update, 3/7/15

The first Edgar has already sold, but even before that happened, I had intended to do a series of Edgars. For those who don’t know me personally, Edgar is a foam-rubber Halloween decoration that has been prominently displayed in all my various apartments over many years. In this work, Edgar is re-imagined as the subject of propaganda art. Calling this “Wait for Your Glorious Future (Edgar II).”

“Wait for Your Glorious Future (Edgar II)” Acrylic on gessoed cardboard. $25


Today (13, October) wasn’t the most productive day at the easel, but at least I got myself working today. I started one larger piece (that I’m not ready to show progress on yet) and I did another small work for the Small Works Progress Administration.

This is just a simple image of a flower that came out of a bag of mixed seeds I got free with an online order.

If anybody is good at identifying flowers, let me know. I’m terribly bad at it these days (though I wasn’t always).

KODAK Digital Still Camera

Unidentified Flower, acrylic on cardboard, SOLD

[return to older post]


Edgar 1, acrylic on card-board. 4″ x 7 1/2″ SOLD

I did one of the Edgars today (I will probably do several more, especially if people express interest. Plus, I find painting them fun and whimsical) If you don’t know Edgar’s story, I explain in the sketches blog (II).

Secondly, I did a very small image of a single wine glass:

Wine glass, 3

Wine glass, 3″x5″, acrylic on gessoed card board -SOLD-

Lastly, there’s an image of “The Peak House,” a (now demolished) farmhouse in Saratoga County that was near the home I grew up in. The image is based on a picture I took with a Pentax 35mm SLR I learned photography on as a teenager.

The Peak House, acrylic on card board, 5

The Peak House, acrylic on card board, 4″ x 8″ $20


The pieces shown here were done yesterday. While visiting with my son, I set up my easel near the park playground (Washington Park, in Albany, NY, where he usually plays). There are little color-studies of some of the stately old trees there, and a few subjects a little more whimsical.


Washington Park tree, water color on paper. 7 1/2″ x 9 1/2″ approximate.$15


Washington Park tree # 2, watercolor on paper. 7 1/2″ by 9 1/2″ approximate. $15


Pencil on paper sketch of an espresso (demitasse) cup. From my sketch book. (make offer)

To see my original post about the NWPA, go here:

A couple more whimsical images:


Child on bicycle, watercolor and pencil on paper, 8 1/2″ by 11″. $15


“RAWR!” (children’s playground equipment) Washington Park, Albany NY. Watercolor on paper, 7 1/2″ by 9″ approximate. $15

If you are interested in any of the works shown there, or in any of the images following, please use the e-mail listed by clicking “about Eleven Images.”

Mini-lesson: The Ten Minute Sketch

It wasn’t that long ago I was teaching in a classroom 40 hours a week in a subject matter that was unrelated to fine art. The simple reality for a lot of creative people is that a great deal of our days are spent doing things other than create art to pay our bills. So, with that in mind, the single greatest block on an artist’s creativity can be the simplest of stumbling blocks: “Do I have time for this?”

With this in mind I thought about ways that creative non-professionals and even professional artists can kick-start their process. I’m calling this example the “ten minute sketch.” It involves sectioning a piece of standard 8 x 11 1/2 sketch paper in your sketch book into four sections (the sections will be roughly the size of 4 x 6 note cards I was taught in high school to use to take notes for research papers).

Generally, I have encouraged my past students to “scale up” (ie: increase the size of their drawings and art) and to use a full sheet of paper for each piece. However, –this time around and in the interest of time– the idea is to create a smaller image that can be done more quickly as it will require less detail. Since this is meant for a sketch book exercise, it’s ideal for pencil or charcoal. Those who wish to may choose to work in color, but if you want to keep to the time limit (a suggestion, not a hard and fast rule by any means) you will simplify your drawing by working in one color, or with a limited palette.

Here is my example from last evening:


My partner, Muse. Pencil on paper, 3” by 5”, from my sketch book.

Bare in mind, this is an exercise designed to help get the blood flowing. You need not agonize about small works not intended for sale. With the small size you will want to keep your details simplified.

I choose portraiture for the topic of this sketch. The planes of the face are generally simple enough to sketch in this small a size. Subjects that are more intricate and have a great deal of detail might take a great deal more time.

Whether or not you work in areas unrelated to your art, the most important key to being happy creatively is good time management. Set time aside each day to be creative. Whether your ten minute sketch is done in ten minutes or not is not important. The important piece of doing this exercise is getting over the notion of being “too busy” or, “not having time” to be creative. This is a mental trick more than anything else.

Get out there, have fun and create!

Cultivating the Sketching Habit

I’ve recently become a lot more disciplined in doing regular sketches of images that I find interesting for whatever reason. When I was a kid, or a teenager, it was a natural thing to just pick up a sketch-book and treat whatever I saw. I sort of lost that habit in the business of being an adult. Now, as I am producing more lately, large complete works, it’s all the more detrimental to maintain regular practice sketching small ideas and things that I may want to turn into larger complete works.

So, I came across the following Reuters photograph in the NYT (photo by Rebecca Cook):

I started with a pencil, and quickly realized what I thought was going to be a quick sketch was actually a very complicated and difficult image to reproduce. There was so much texture to this photo, from the over-grown grass, to worn brick, to wispy clouds. I actually put a couple hours into this over a couple days.

This gets to why doing regular sketching is important. There was a lot of problems to solve with this image, a lot of challenges to it too. This is how being twenty years into taking art seriously, I am still learning and not stagnating. Enjoy:


Continuing on the sketching habit, I was immediately charmed by this image in the NY Times. This is Arline L. Bronzaft. She’s described in the NY Times article as a “environmental psychologist.” This fiery little woman has been a consultant to NYC mayors for decades now, she essentially busies herself with reducing noise problems in one of the most bustling urban environments in the world.


Photo and article here:

So, continuing the tirade with sketches from photos credited to the New York Times, I did this photo from the paper of virtuoso Pipa player Wu Man,


I did a bit more sketching last night. I am trying to draw out some ideas for the small works I talked about in the “Small Works” Blog.

The first draws from “Right Woman…” by Degas. I was doing a class demonstration and realized this pose has some pretty serious challenges in it. So, I brought the image home to work it again: 


These poses of young girls come from two separate works by Edouard Manet: (“Old Musician,” and  “St-Lazaire” respectively):






The Finished Degas Piece

Over about four sessions, I finally finished my pencil on paper reproduction of Edgar Degas’ Girl Combing Her Hair. This is a piece Degas worked and reproduced many times. Here is the image I was working from on the easel with my own version:


A little about the process and the image:

While working on this piece, there were two mistakes I made early on with my sketch that I had to contend with. I did what I could to solve problems as I could while working on the piece.

First, since I had only intended to make this a figure/compositional study on a day our still model was not able to attend the class, I started the sketch on a large sheet of low-quality paper. I had intended to use this as an in-class demonstration for my students, so the choice I made for paper was something I would end up contending with later, since a very smooth and thin paper will hold pencil much differently. (I advise all young artists to use good paper as often as they can afford and generally follow my own advice, using inexpensive papers only for my practice sketches and studies.)

The second mistake I made with this sketch was in making the initial lines of my sketch. Overall, I made the body much too large, and I essentially ran out of room for the left arm. By the time I had realized this I had gotten a bit far into the drawing, having already added a great deal of detail. I choose to attempt to bring the arm forward as I was drawing it, as though pointed more in front of the model to make the arm fore-shortened enough to still fit on the paper. Even after that, the result was less than satisfactory, and at one point I slightly shortened the right arm to make the mistake less obvious.

So, that speaks, obviously, to why pre-planning remains so vital to getting an image right –especially when reproducing another piece. If I had been more careful, or looked more carefully as I placed the outside lines in my sketch, I would have been able to place all of the image easily withing the space it was intended for.

Something to think about when you are working on a piece. Perhaps when you think your initial sketch is done, pause, take a break, and come back to view the initial sketch. Make sure that you have proportioned and placed all your lines correctly before you begin shading and adding detail. (While drawing, I was walking around a classroom, interacting with my students and doing the business of teaching, –not that this necessarily forgives me).

Obviously, this is a very challenging pose, no wonder Degas returned to it again and again, the same pose, and even this pose using other figure models. If you don’t get it right, do it again.

Nonetheless, I was pretty pleased with the end result. I’ll add a couple more pictures at the end, when I have the light to take them without the glare from a flash. Until then here’s a shot of the detail:



The lesson –sort of within a lesson– if you try to create you will make mistakes. You’ll make mistakes whether you are starting, or advancing or have been working in a medium for years. Relax, it’s your art. It probably won’t be perfect. You will realize you have made an error, you may spend hours trying to correct it and still be unhappy with the result. Don’t be afraid of your mistakes or toss your imperfect works away. Instead, look at what happened and analyze the problem. You can probably learn more from those works that are imperfect than you can from others that simply have problems that escape your notice or the notice of people you seek feedback from.

After you are finished, do it again. Make that mistake ten times, or until you don’t. Happy arting.