N.B., Click on images to zoom.
'Nude Female'
There are many ways to approach an observation drawing. Some artists start at one point on the body, and then, by carefully measuring how that starting point relates to other points on the body, they painstakingly map out the figure on their paper, before filling it in.
Others start from a dark surface and indicate with a lighter tone the main parts of their composition, before putting in highlights.
My preferred method goes something like this. I have (for example) a sheet of white paper. I faintly, gently, and using wide swirling movements indicate the main areas of the composition across the whole paper. The drawing doesn't look like anything at all, initially, just some broad, swirling, faint marks. Then I start to firm up some marks, as the composition takes shape. If the composition is not working I tend to make drastic changes, which is easy at this stage, because there is, as yet, no drawing which in any way looks precious, (or even recognisable!).
'Baby - First Drawing'
10 minutes. Conté Crayon on Paper, A2
I will sometimes use an eraser to quickly lose some of the less well-positioned marks (although most times these early marks are so light that they can just stay there, as they don't visually impose as the drawing continues).
When these loose marks begin to suggest a decent composition, then the marks get slightly firmer, and slightly more representative of a recognisable subject. This process continues in the same way, getting firmer, and getting (hopefully) more accurate.
It usually stops when the model needs to rest, or when an agreed time period has concluded (which could be anything between five minutes to a day or so).
Oil Pastel on Paper, A2
Others start from a dark surface and indicate with a lighter tone the main parts of their composition, before putting in highlights.
My preferred method goes something like this. I have (for example) a sheet of white paper. I faintly, gently, and using wide swirling movements indicate the main areas of the composition across the whole paper. The drawing doesn't look like anything at all, initially, just some broad, swirling, faint marks. Then I start to firm up some marks, as the composition takes shape. If the composition is not working I tend to make drastic changes, which is easy at this stage, because there is, as yet, no drawing which in any way looks precious, (or even recognisable!).
'Baby - First Drawing'
I will sometimes use an eraser to quickly lose some of the less well-positioned marks (although most times these early marks are so light that they can just stay there, as they don't visually impose as the drawing continues).
When these loose marks begin to suggest a decent composition, then the marks get slightly firmer, and slightly more representative of a recognisable subject. This process continues in the same way, getting firmer, and getting (hopefully) more accurate.
It usually stops when the model needs to rest, or when an agreed time period has concluded (which could be anything between five minutes to a day or so).
'Female Torso'
5 Minutes. Conté Crayon on Paper, A2-ish
This drawing of a female torso still shows the rough and rather wild marks indicating the placement of the arms and body, which are superseded by later, more accurate marks, which start to indicate the form and anatomy of the figure.
N.B., Click on images to zoom.
'Female Figure' (detail)
1 Hour. Oil Pastel on Paper, A2
This drawing, in oil pastel, has moved on a stage, and the figure is beginning to be modelled with light and colour. As time goes by the drawing may get more detailed and defined, or it may be that (like with this one) I stop at this stage.
N.B., Click on images to zoom.
'Seated Female'
Hour and a Half. Oil Pastel on Paper, A2
This seated female is probably as detailed as I would usually go when using oil pastel. Given a different media I could go further obviously, but with oil pastel the medium itself will not allow too much detailed work.
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NOTICE
I'm exhibiting a room-full of pictures at the Royal Cambrian Academy in Conwy running from 27th May for six weeks.
The exhibition is called 'Paintings by Harry Robertson' (which I thought was a rather snappy title).
It will include a few new pictures, although, as I tend to work quite slowly, (and as I've just recently completed another one-man show), the majority of the work will have been exhibited before in other places.
Nevertheless, I do hope you can find the time to drop in.
Opening Hours : 11am - 5pm Tuesday - Saturday
Admission Free
The Exhibition runs from May 27th to July 6th.
Admission Free
Royal Cambrian Academy, Crown Lane, Conwy. LL32 8AN. 01492 593413
The Gallery is located in the centre of Conwy just off the High Street behind Plas Mawr.
The nearest train station is at Llandudno Junction, 3km from the Gallery and served by the North Wales Coast route.Services run approximately hourly throughout the week. The Arriva Cymru (service 5) bus stop is 200m away from the gallery and runs at 30 minute intervals on weekdays.
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quiz quiz quiz quiz quiz “details, details............” quiz quiz quiz quiz quiz
Whose tootsies are these, and who painted them?
And here's the answer from the last posting -
'Triple Self-Portrait'
Norman Rockwell, 1960.
quiz quiz quiz quiz quiz “details, details............” quiz quiz quiz quiz quiz
"What at first seems accidental is really 'controlled looseness.' Unity is always a top priority and is important for the success of a painting."
Carlton Plummer