Welcome back to another Figure Drawing Friday. Time seems to fly as these come around. I’m always surprised that it’s time to post another one. I’m reaching back into the archives for this one.
Leuchtturm 1917 Sketchbook Gestures
This week I’m sharing some Leuchtturm 1917 Sketchbook gestures of a male model. I like the Leuchtturm Sketchbook a lot. It is slightly larger than a larger 8.25 x 11.75″ sized Moleskine at approximately 9×12″ (A4) and the pages are bright white instead of the Moleskine’s cream color. Of course, you lose the whiteness of the pages given the effect on the image file. I posted this on a blog (an old one) some time ago and played with it in an app that I don’t recall. It might have been Snapseed.
Cram Your Gestures On One Page!
This series of drawings came from a quick succession of two-minute poses. The model was standing on a platform raised slightly above the artists. At the time, our practice was to do 5 or 10 quick one-to-three minute gestures. I enjoy cramming all of my gestures onto one page. It prevents me from getting too picky about a drawing and lets me get a little more loose. After cramming ten loose gestures on the page, you have something that actually looks pretty good. I will post a full gesture page in the future.
This series of three drawings came out okay. I’m not super thrilled with each drawing individually, but I do like the arrangement of them combined on the page.
Welcome back to another Figure Drawing Friday. This week, I’m once again reaching into the archives because I haven’t drawn from life in a few months. I drew these images independently in my sketchbooks and composited them digitally. The red female figure is a quick gesture drawing that I did during a two-minute pose. I’m very pleased with this drawing. I drew it in red pen (Pilot Precise V5 Extra Fine), so what you see is the first attempt with no wasted marks. I rarely get so lucky to get proportion and structure right so quickly and the first time I put a mark down.
Elderly Couple at Buffet
The elderly couple in the image came from a quick drawing session at a hotel in Washington D.C. a few years ago. I drew these people as they browsed the breakfast buffet. This is another ink drawing…if I recall I used a Copic F02 Drawing Pen, its razor point is great for fine lines, but terrible on paper with any kind of tooth because it scratches it.
Fifteen Minute Poses
The nude female in the remaining two drawings is a model I’ve drawn frequently. These poses we’re both approximately 15 minutes long. If you look at the drawings carefully, you’ll notice I completely blew it on the model’s likeness. If I didn’t point out that the drawings were of the same person, most viewers would not expect that they were the same person. Likeness is so critical to get right and so easy to get wrong. I drew these two illustrations with a mechanical pencil, probably an Alvin Draft-Matic .5mm. That was my go-to mechanical pencil before I got my Rotring 800.
In those days, I often drew from life with a mechanical pencil, but I would not recommend that to anyone today. With a mechanical pencil, you lose the ability to create line variation with a change of your wrist’s angle. Instead, I recommend you either use a traditional pencil or Col-Erase pencil with a long sharpened point, or better yet, a color pencil like a Prismacolor Black or blue, a china marker, or charcoal pencil. Sharpening a long point will give you more surface area for line variation and if you use a soft enough tool — I recommend 6B — you can get good variation in the darkness of your marks.
This week’s figure drawing is another drawing I’m pseudo happy with. I actually really like the structure of the limbs and shoulders. The legs came out well even though they’re a little too stiff. The left leg should have a little more sag to show the compression in the chair, but I like the lighting on the lower legs. I’m not thrilled with the likeness, this didn’t really capture the model very well. However, I think the drawing works overall.
I’m not happy with the blocking in of the background. I’m not sure why I used those diagonal strokes to block in the area behind his left arm, but I think it would have worked better if the strokes were more horizontal. As it is, it just looks messy. I’ve also learned to be more deliberate in where I place those dark areas around a figure.
Generally, if you darken the area near a portion of the figure that is well lit, you create additional contrast and enhance that impression. If you leave the background near a darkened or shaded portion of the figure, the principle works the same way for the opposite effect.