There is often a disconnect between the student and the paper, when charcoal is introduced as a drawing tool. While ideal for its range of marks, uniform lines, all rendered with a tense grip, scream too much control. Enter gesture drawing, with its brand of rapid-fire marks. When no longer confined by the intellect, charcoal caresses the surface of the flesh, with lines that bend, flow, and pulsate. Forget about perfection. A far more engaging objective: Make a sexy line.
September 20, 2015
A life drawing class can segue into any form of personal expression. Free your grip on the charcoal, play around with marks on the paper, and you open an array of possibilities. Stay in control, overthink, and you kill creativity.
August 31, 2015
August 20, 2015
Aline's versatility with methods and materials.
|Self-portrait with markers and color pencils|
|Markers in sketchbook|
August 11, 2015
Each of Alyssa's drawings illustrate one or more lessons: What is the focus? Downplay the supporting character. Negative space is important. Look for large, simple shapes of light and shadow. Use the tip of the charcoal, or the tip of the brush, for a contour line. Avoid bringing attention to the edge of the paper.
July 29, 2015
The side and the tip are addressed, and with enough practice her line variations become standard.
By the last week of class, Lexie eases up on the pressure, and shows her sensitive touch. Here values are emphasized, and contour lines play a decidedly minor role. Even the model's hand, drawn at the bottom of the paper, is so light as to not distract from the focus.
July 19, 2015
When Rivala plays with marks on the paper, not only do her figures show her energy, by the second week, she imbues them with personality.
|First ten minute drawing|
|First one minute drawing|
|The first week of gesture drawing|
The second week after lessons on clothing, portraiture, and composition