Life drawing

Life drawing at ARCSOC. It was hard for me to render my own perspective as I was busy trying to capture the individuality of the model and the pose. I often feel similar trade-off between the artist’s style and the uniqueness of the object. (Compare, for example, Picasso’s early, realistic paintings vs. his late cubist paintings.) I wish I could find a way to capture both. Do you feel such tension when you draw? If so, how do you deal with it?

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loves drawing surreal everyday objects.

5 thoughts on “Life drawing”

  1. I understand what you are saying here and I think every time I set out to create anything (draw, paint, sculpture, whatever) I veer between the thing I want to be portraying and how I want to go about it, and then somehow it gets done and I don’t seem to be in control at all of any of it. I think for me, my own style always overtakes and sometimes obliterates the subject.

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    1. I see. I do feel the strong force of the process itself as well, especially when there is a time constraint. I guess in general artwork doesn’t need to portray something, although I do want to get inspiration from details of outside events and forms.

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  2. I have big problems in the way many life sessions are run. In the main there is an emphasis on speed – which immediately creates tension for me. I said to someone the other day I feel like I’ve been plugged into the mains after some of these sessions.
    Personally I have to slow down – drawing, for me is an act of meditation. I need to look and consider. Slower is faster.
    Going to a session with a plan helps – maybe taking images of an artist you admire and some thought on how you could approach a subject similarly. However, this can be thwarted by the pose or poor lighting, or like, on Saturday, when I was at the back of the group and needed binoculars to work.
    So my suggestion is, sketch a style at home and be fairly au fait with it and then try and apply that at a session.

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    1. Thank you, Graham! I agree that drawing can be meditative and life sessions feel stupendously fast, although I’ve only been to two sessions run by the same group so I cannot really make a general comment. The ones I’ve been to had about three 5-min poses, three 10-min poses, and one or two 20-min poses. The 5-min ones to me have really been just for warm-ups rather than for a piece. I suspect some part of the time constraints come from how long the model can hold the pose. Unfortunately, the more dynamic the pose is, the more strenuous it seems, and hence they seem to be relegated to short slots.

      I went to one this evening as well, and I tried to heed your advice by preparing roughly in mind what style I’d draw. But in the session the model looked completely different from the last week’s (obviously I should have expected it), and I found her look strongly guided the style I drew, although that didn’t necessarily feel bad. I’ll post them soon.

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      1. It’s difficult applying the plan sometimes, but if you have a style you want to emulate, stick with it.
        As for warming up – we’re not athletes in explosive events.
        Sometimes classes are restricted by the model. I’ve been in sessions where models have been stood for three days in the same pose. Good ones just break when they’ve had enough and then resume. We had one guy who had worked for Freud and Bacon. He could almost turn himself inside out and hold that for long spells.
        I also think that sessions, as you describe, are suited for drawing. If you want to paint, like me, it isnt very suitable.
        Anyway, best of luck.

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