To set the scene, Anne sent round some images before the class - three by Antony Gormley, one by Leonardo, and one of her own -
the room was set up...
In between demonstrations, we gridded up the paper lightly with charcoal, then added figures in a sort of see-through drawing and "3D" drawing, using circular motions to show the back as well as the front of the form -
In between we used paper towel to spread/diminish/blend the marks. And then we started adding vessels, from a selection that grew as people added more to the still-life and to their drawings -
My view -
My drawing -
Looking around at the end of the class to see what others had done -
Homework: look at Seurat's drawings, such as these -
or those
here, an exhibition at MoMA.
In the second class we started by blocking out a sheet of paper in charcoal, and then it got serious. First a demonstration of using white chalk to put in - as much as possible with our fingers, taking it from a "reservoir" made on the paper (top right corner) - using it to put in the highlights, and to "feel" our way round the form. Trying to leave using the actual piece of chalk for as long as possible, for the very highest highlights. (The model is by Antony Gormley, and it's in the science museum.)
Black conte also helps make the shape more definite -
The glasses were from the still life on the floor. Same technique.
And then we tried the "highlight method" with fabric as well as solid objects, and this is where the prepared charcoal was used.
Taking out the charcoal, with paper and later a rubber, on one sheet ... and adding it onto the other sheet. Developing the two drawings in tandem; negative/positive. I found this was a very congenial way to work, back and forth between the two, looking for highlights and looking for shadows and watching how they form a surface -
Another artist to look at - Morandi -
On the handouts - Giacometti, Seurat, Gormley -
A room full of positive/negative results, a new way of looking at things, lots to think about -
2 comments:
What interesting exercises Margaret. I am still getting used to the fact that the slightest touch of bright white and darkest black can bring such definition to a drawing. Your rendition of the little curled figure is very tender.
How fascinating this is - and so much to think about. I've recently been drawing with graphite pencils / sticks and then rubbing over the shaded surface with a small piece of cotton to give a smooth blend. I then rubbed the deposit on the cloth onto the outside of shapes to give a shadow effect, so your thoughts here will be great to try. What an amazing course!
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