Exercise: Fabric with line and form
This was a funny exercise. Instructions were to throw some fabric across a chair, then make two 15-minute sketches using only line. My cat Gina got crazy when I threw the cloth… she jumped on it while it was moving throughout my attempts to throw decently to get some interesting drapes… she chased after the cloth and tried to run away with it. I finally had to close her out of the room to get my throwing done, then allowed her back to keep me company.
I chose A3 paper and charcoal for the first, then 4B pencil for the second sketch. I wanted the large size to permit some arm movement. I switched to pencil because I found the charcoal lines a bit too bold.
The next task was to draw 5cm squares and depict tonal details of the folds. I stayed with A3 size and 4B pencil, but started in the middle of the sheet to see how many squares I’d be able to draw before exhaustion.
I was puzzled because my folds were interesting abstract shapes but not recognizable as cloth folds. I was surprised how much of my draped cloth fitted into the tiny area. I continued and made 7 little squares in total, some are repetions of the same sport or just slightly moved because I found these were the most interesting areas.
I don’t think any of my miniatures is particularly recognizable. I think this is because the colour contrasts were too strong. I thought how I had been glad after the previos exercise that I finally managed to be a little bolder and create dark marks, now this exercise rather asked for subtle tonality… so basically it didn’t work.
Exercise: Form and movement in a clothed figure
I started this exercise with new energy on the next day. I had no problems deciding on a nice arrangement, simply took a wide light summer overcoat and took place in front of the mirror. I developed interesting positions, but then realized that I’d have the same problem as always, the limitations of observing and being observed simultaneously. In other words, to draw myself, I had to move the arm and I was constantly in my own way.
I made a large drawing when I finally had found a position that was different from earlier positions and permitted to draw much of the figure. I had placed the drawing pad on a small easel and sat directed towards the table. It was a nice position but I wasn’t able to work out the drawing because my arm went lame.
While drawing, I realized several things. Firstly, the large paper size was in itself disturbing because it covered most part of the figure if I held it upwards in front of me. So I decided to switch to a much smaller size and continued with an A5 pad.
I also took off the coat and draped a white blanket around myself be because I wanted to try out the task with a different kind of cloth.
I became aware of the huge difficulties with the instruction to use hatching to create tone. With each drawing, I began with line, and as soon as I tried to introduce tone by quick hatching, it seemed to be all spoiled. Over the course of my sketches I switched to a more subtle handling of the pencil which avoided linear marks and created tonal areas instead. I think this is a technique to create more subtle and realistic effects. It wasn’t even conscious, I automatically turned to this technique because it felt more appropriate to my aim of getting the tones right.
But then I thought that the instruction to use hatching must have a deeper sense and that I shouldn’t just ignore it. So I switched to black pen with the aim of preventing myself to slide unconsciously into a different mode of drawing. There is one area in this drawing where I think the hatching looks good and actually works, that is on the right side where the cloth falls over the leg with the bare foot.
Analysing the drawing I thought that maybe the black colour was my problem. I was drawing white cloth and every hatching mark created a strong contrast which seemed to destroy the lightness of the folds. I wanted to stay with a medium that permitted no tonal variation and thought that coloured felt pen might work better. I had the idea of making a coloured drawing using light grey felt pen for the white cloth. Then the hatching to depict shades on the folds would be made in a light colour and thus be more subtle in effect.
I only had smooth paper in A4 size, so switched to the larger format for the next attempt. I thought to begin with a light pencil outline and chose a H pencil to prevent smearing and because I wanted only light orientational lines. The drawing then developed differently, because I began to try out hatching with the harder pencil. I postponed the felt pen idea and tried to work out the pencil drawing. My cat Gina hopped on my lap, I moved and the drapery was all curled up, so I stopped this drawing before I felt it was ready.
The final drawing was done with grey felt pen. I meant to choose a lighter tone but it looked darker than anticipated on the paper. The drawing more or less works, but for the hatching I think I need more practice with that technique. I remember that there were exercises in part 1 of the course. I’m not very comfortable with the technique.
What I found really strange was that I felt that hatching was not the best technique for the purpose. On the other hand, I quite liked the results even if the hatching wasn’t very subtle.