Drawn from Life

Tips and Tricks for Contemporary Life Drawing

Helen Birch

• Publisher: Chronicle Books LLC
• Year: 2017
• ISBN:
  9781452166872
• Topic: Art
• Subtopic: Art General

Drawn from Life offers bite-size lessons that will help anyone master the classic practice of life drawing. Over 100 pieces of art by contemporary artists illustrate fundamentals such as line, contour, and color, plus surprising and innovative techniques that will take your drawings to the next level. Showcasing a wide range of styles and methods, this is a refreshing new guide to a timeless art form.

The sketches

MARIA GIL ULLDEMOLINS LIZA, BRIDGETT, KATHERINA, STELLA, BUNS AND COMBS, GEISHA’S THOUGHTS, REBECCA, BIANCA
Medium: Fineliner pen, India ink

CONTOUR AND SHAPES

Mapping time

MARK HORST

Presented side by side like this, we’re able to compare two of Horst’s drawings made from the same model in the same location. It enables us to see how drawing experiments on the same basic framework can alter the appearance of a drawing. It’s important to know that Horst is a painter. He’s used these drawings to think, to play, alter, and plan for those paintings. They’re like visual notes to himself.

The setting is quite simple—a corner, a chair, a model. Paired together like this, the drawings are reminiscent of storyboards (a set of images for visualizing a motion picture or animation). The scene is sidelit from the right. Shadow evidence makes clear this is the case. It’s more likely that this is natural light. The subtle shift in the shadows’ geometric shape documents the fleeting passing of time.

Horst’s depiction of the model suggests that he’s used lens-based media—not only to distill time and capture nuanced movement, but to enable him to get the basic outline of the figure down pat. The artist has blocked in the forms with Conté crayon and then roughly defined some of the contour edges of the negative spaces with pastel. The outlines have a semi-traced quality to them. This makes them seem like notations on old process photographic contact sheets. A technique to enable this kind of drawing might be tracing the projection of a chosen image via a digital projector.

Consider an OHP (overhead projector). Xerox or photocopy your chosen image onto acetate before projecting and tracing it.

J. L. WITH HAND ON HEAD, J. L. WITH HANDS TOGETHER
Medium: Conté, pastel

Using the edges

ANN PAJUVÄLI

The initial impact of this drawing is in its unusual composition. Its main elements—a crouching figure and a low table—are placed unusually; neither of them fits within the usual boundaries. They go off the edges of the paper. Given the title of the drawing, this slipping out of the frame, this becoming periphery, makes compositional sense.

Composition is an important part of any successful drawing. To compose an image is to decide how to arrange things within the space available—usually the sheet of paper selected. The arrangement and combination of those elements can come about as a direct observation of what the artist sees—the figure and what surrounds it, a record of things “as is”—or, as here, manipulated after the observational stages of the drawing have taken place. The dynamic of this piece depends upon the elements of the drawing being cut through before being reconstructed. Photoshop has been used here. Simple cut and paste techniques would work just as well.

The figure has been drawn with graphite pencil, worked up from a model and the artist’s reference photo of the model. Mark-making ranges from gray outline, to gentle shading for the figure, quick back and forth parallel lines for the shorts, and carefully observed lines for the fabric check. Multidirectional strokes of black marker pen suggest rug texture; a black squiggle suggests hair at the nape of the figure’s neck. The black and white, organic form of the figure is balanced by the colored marker–drawn, geometric form of the table, plus Photoshop cut-throughs of the rug. The random tubes and sticks add the final compositional detail.

It’s actually very hard to draw like this. Observing and drawing is usually a center-of-our-focus activity, which means our drawing ends up centered on the paper.

I THINK I STOLE YOUR MEMORY
Medium: Graphite pencil, colored pencil, colored marker, Photoshop

Researching a pose

CRAWFURD ADAMSON

It can be a good idea to have a variety of starting points as regards why, or how, one might draw the figure. We can’t always rely on a life drawing class to provide a pose we’re genuinely interested in. The class you might attend will probably have a tutor and peers who are willing to hear new ideas that you might have.

Consider using classical mythology to base a drawing on, here Adamson elected to develop an idea using one of the three female characters known as the Fates, or Moirai. Similarly, consider letting mythological (or historical) stories help you to decide on possible poses that might construct a story or narrative. Doing some research will provide a wealth of images. Artists have often used the characters and stories found in classical mythology as a prompt. Any trip to a major art gallery will provide you with many examples of art using this subject matter, whether as painting, sculpture, or drawing.

As a figurative painter, Adamson does studies like this to enable him to make decisions about what gesture a character might make, to develop interesting angles, or to work out where and how they might be placed in the painting’s final composition.

An interesting part of this drawing is the original position of the elbow. The artist made a decision to exaggerate the length of the arm, to supersize it so that the gesture made by the hand is scaled up and made much more significant. The soft lead of a 6B pencil means that nuances of pressure give a range of tones from black through pale gray. The lines search for the right position and reveal the workings out.

STUDY FOR TRIUMVIRATE
Medium: Graphite pencil

Using geometric shapes

JYLIAN GUSTLIN

Urgency can be important when capturing a figure, even when that person is a professional model, as here. Some poses are difficult for a model to maintain. Look at how the legs are bent at either side. Consider how difficult it is to be comfortable like that, taking all that upper body weight on the wrists and hands.

Making the decision to get marks down quickly can help to capture a pose. Here, the artist has quickly located a basic shape suggested by the figure. The top of a triangle is found in the shoulders and, at the spine’s base, its downward point. Look how the olive-hued pastel has been used to accentuate and locate the backward-leaning figure’s main shape. The curves of the triangle’s sides seem to take up that weight, to anchor the model to the paper, and give her something to lean against.

Another geometric form makes up the head of the figure, albeit a roughly rendered one. This almost angrily scribbled charcoal circle manages to locate the right-tilting head of the model. It captures the only point of temporary ease in the whole pose. Its blackness is balanced, diagonally opposite, by the base of the model’s foot, which is closer to the viewer.

Pencil line is used to draw in the more complex and detailed parts of the pose—the foreshortening of the model’s left thigh, the grasping hand, the big toe. Combined with the layering and smudging of the pastel and charcoal, it has been handled without fuss. The pose has been captured before the moment is lost.

DRAWING 3
Medium: Charcoal, pastel, pencil

Monochrome studies

HELEN STRÖM

Ballpoint pen drawing perhaps isn’t taken as seriously as works done in more traditional media. This might be because these pens are so easy to obtain—we consider them di...