The figure was the focus for four classes. Gestures led to contours, combined with values, and then to portraiture. While there was plenty to learn in a short period of time, what emerged was each student's own expressive potential.
In her gesture drawings, Tricia adds a contour line. It is a standard weighted formula - more bull-nose edge than flesh. Clinically detached, the line ls more mass produced than human.
With closer observation, contours now swaddle the figure with compassion. As she rotates the charcoal in her fingertips, every bump, indentation, and shadow, is a mound of human frailty - so imperfect, so plump, and so stunningly real.
There are no straight lines in the figure. Yet reducing its form to simple geometric volumes brings a greater understanding of perspective. While students usually start with the upper body, even when doing a gesture drawing, beginning with the feet and the legs - which in this case are closest to the viewer - will highlight their grander scale.