Exercise: Drawing the human figure
Look at the shapes or outlines surrounding your figure that will help you to locate your figure in space. Use any drawing medium to mark out the principal shapes and outlines in your sketchbook. Make several sketches, working quite quickly each time and adjusting your measurements as you progress. Make light pencil marks initially; when you’ve decided what looks right, you can start to make the marks stronger. Move around the figure trying out different angles.
Life model session 1. Sketchbook 2 – pages 59 – 67
Drawing the human figure, portraiture and life drawing, is my most favoured genre although since starting my OCA courses it is been resigned to small sketches in a pocket notebook while sat in cafes, galleries or airport lounges as opposed to attending life drawing sessions. I have managed to acquire the support of a life model for this part of the course which I am absolutely delighted about. The alternative was drawing from a picture which for me just doesn’t create the safe effect. As my favoured genre I have long admired and been inspired by the work of Lucian Freud, Lawrence Gowing and Euan Uglow to name but a few. Euan Uglow was predominantly a painter of the human figure whose method was meticulous, involving a great deal of measuring and correction to create sculptural like figures. His mark making and measuring was often still visible in the finished artwork. Lucian Freud is renowned for his honest depiction of the human figure. His brushstrokes and marks are clearly visible which I absolutely admire.
My first session with a life model was ill prepared. I hadn’t given enough consideration to the poses, light or setting arrangement. As poses went from standing to sitting, to prone, my model was very accommodating.
I started with a standing pose (see figure 1), just because the seemed the most obvious. Using a 2B leaded pencil I compiled two quick sketches (8 mins each), changing the viewpoint between each. I repeated this with the model adopting a different pose. Before starting I had marked out the extremities of the model (measured with a pencil) before dividing and marking with horizontal lines. On reflection my mark making is very structural but I think it captures the models outline, and in some cases, form.
When I moved on to drawing the model in a sitting pose (see figure 2), I found that I struggled with the foreshortening of the lower limbs. On reflection (as I type my notes) I wonder if this was because I was working a line drawing, as opposed to a tonal study, or of form in a different medium. A poor excuse – I know.
After lunch, and having had time to gather my thoughts, the model was posed in a prone position. I felt that using a lead pencil was a little restrictive for this exercise and therefore changed medium to charcoal pencils and sticks. Although I marked the extremities of the model, the remaining marks were fluid and rhythmic with sweeping gestures to create the illusion of form. I felt as if I had redeemed myself from what was clearly an ill prepared start.
Fig.1. Standing pose (8 mins) 
Fig. 2. Sitting pose (8 mins) 
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Fig. 5.
Life model session 2. Sketchbook 2, pages 69 – 72
As I required the model to pose for longer periods during this session I felt it important to ensure she was comfortable – hence the introduction of a small armchair. By luck, I found the structure of the chair to be a useful aid for measuring and acquiring angles against the model. Despite my eagerness and desire to dive straight in by drawing in paint, I started with some preliminary sketches using a charcoal stick. (see figures 6-9) As always these were particularly useful, both to loosen up and find a suitable pose.
Moving on from the quick sketches I used charcoal pencil to draw outline shapes of the model and armchair onto a prepared oil paper surface. I then used raw umber oil paint, mixed with a fast drying medium, to create the illusion of a three-dimensional form by incorporating tonal values. I found that the charcoal and paint became muddy when mixed. (see figure 10-11)
For the final piece during this exercise I drew the model in paint. I once again measured and made marks on the surface to keep within the frame of the oil paper canvas, which to some surprise were relatively accurate in representing the models proportions and angles of limbs. I also felt that I had mastered the foreshortening of the legs. However, the model felt that one was too short and the other too long. (see figure 12-13)
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Fig. 12 
Fig. 13
I felt that these two sessions really helped in getting back into drawing a life model. That said, I also felt as if I was coming to life drawing for the first time. Its not quite like riding a bike but I hope things will fall into place as I continue to experiment and have access to my life model.
Exercise: Linear figure study
Don’t get too involved in close detailed drawing of hands, feet and features. Just try to get the main outlines of the figure and its surroundings. Draw with your brush as accurately as you can.
Life model session 3. Sketchbook 2, pages 73-74
My intent for this session was to develop a linear figure study. I used a stretched oil paper surface mounted on plyboard. Using a charcoal pencil I started by drawing a basic outline shape of the model. I didn’t include any detail at this point. The initial sketch was more about working to the edges of the paper surface and getting the models proportions accurate before applying paint (see figure 1). Once content I used a diluted burnt umber acrylic paint to draw the main outlines of the figure (see figure 2).
Having previously prepared a palette of oil paints (vermilion red, alizarin crimson, burnt umber, cerulean blue, prussian blue, cadmium yellow, paynes gray and zinc white) I experimented using colour as a tool of technique. With the deliberate exclusion of a specific hue, or without any emphasis on a specific colour I wanted to establish if this could contribute to the overall effect of the painting. As an experiment it was enjoyable and I felt that the effect of using colour as a technique did contribute towards the content of the painting. However, in doing so some of the outlines and shapes of the form were lost as colour dominated the painting. (see figure 3 – 4)
Life model session 4. Sketchbook 2, pages 75-78
This session was in part a repeat of the previous with the intent of allowing the outlines and shapes of the form to remain dominant. The surface was a hardboard canvas which had previously been prepared with a dark green wash. The outline figure was draw with cerulean blue and prussian blue oil paint directly onto the surface. (see figure 5)
Content that I had captured the form and proportions of the model I used burnt umber, thinned with a quick drying medium to block out some of the darker tonal values. (see figure 6)
Using a similar colour palette to the previous session I tried to identify tonal values through colour. While the colours are not accurately representational of the model they do create the impression of tonal variations. The original outline remains visible and creates a sense of solidity and presence to the model.
Life model session 5.
Using a burnt umber acrylic paint I drew the outline form of the model. I was pleased with my initial drawing and could have quite easily stopped there and patted myself on the back for capturing the models proportions and shape with a degree of accuracy in a short period of time. (see figure 8)
Using burnt umber acrylic paint, diluted with water, I blocked out the tonal variations. At this point I felt some of the outline drawing had been lost which I later retraced. (see figure 9) I purposely left the background white and did not included any surrounding objects nor shadows cast underneath the model. To one extent the model appears to be floating in mid-air. On the other, the obscurity of any natural surroundings emphasises the marks on the paper and highlights the models form. I will try and experiment and exploit the use positive and negative space as I progress.
Exercise: Tonal figure study
Concentrate on conveying form by exploring tonal values. For a tonal study it’s best to work with natural light. Make an initial drawing in which you simplify the main volumes of the figure as a series of cylindrical forms. Make several sketches using a tonal medium such as a soft pencil, conté or charcoal. Paint in any colour range, but it’s best to restrict your palette so that you’re able to focus on the subtle gradations of tone that are evident on flesh.
Sketchbook 2, pages 79-80
The objective of this exercise was to convey form by exploring tonal values which I had started to explore during the previous exercises.
Using pen, charcoal and soft pastel and started by producing a series of sketches to explore form and tone. (see figure 1 and 2) As articulated in the course material I find it best to work in natural light for tonal studies, although this can also be a challenge as the strength of natural light changes continuously.
Fig. 1. Pen and charcoal tonal figure study 
Fig. 2. Pen, charcoal and soft pastel tonal figure study
After a short break from the preliminary studies I set up an easel on the shaded side of the model with the light source entering from a window to the right. (see figure 3) I used a stretched oil paper surface which had been prepared with a burnt umber acrylic wash (diluted with water). Using burnt umber acrylic paint I drew the outline of the models figure. At this point I was relatively content with the torso but I struggled with the foreshortening of the lower limbs. (see figure 3) I felt (hoped) I could recover this visually as I included tone and shade.
Continuing to use burnt umber acrylic paint, I blocked in some of the darker tonal areas and shadows, although this looks more like a wash of the same colour rather than a focused observation of tonal variations (see figure 4).
Switching to a palette of oil paints of burnt umber, yellow ochre, Naples yellow, cadmium yellow, cerulean blue and titanium white I highlighted some of the lighter tones (see figures 5 and 6).
With a focus on tonal variations I found that I had lost some of the models shape and I never resolved the foreshortening of the legs (see figure 7). On the positive side I wanted to keep the style and technique loose and suggestive which I believe I have managed to achieve. However, I feel I must continue to experiment and develop this style if I am to create the appearance of a three-dimensional solid form.
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Fig. 7.
More time in the setting would have been helpful, although arguably the pressure of time adds a different perspective and produces a different outcome. In equal measures, with more time it is likely that I would have overworked the painting. As it is, it’s more akin to a quick study as opposed to a detailed observation. However, looking forward to the other exercises in Part 3 there should be ample opportunity to incorporate tonal studies.
References:
Smith, S. (1984). Anatomy perspective and composition for the artist. London: Macdonald.
Woods, B. (2003). Life drawing. Marlborough: The Crowood Press Ltd.
OCA BA(Hons) Painting Degree - Level 1 