Drawing Mark From Life
One of the things I continue to enjoy about drawing is working directly from life. There is something different about having a person sitting in front of you rather than working from a photograph. You are constantly observing, comparing, making decisions, and responding to what you see.
Recently, my friend Mark agreed to sit for one of our Open Studio sessions at Brush & Sketch. These sessions give artists an opportunity to work from a live model, and on this particular evening I decided to draw along with everyone else.
I worked on gray toned paper using charcoal, with white charcoal for the lighter values. One of the things I enjoy about working this way is that the paper itself can become part of the drawing. Rather than beginning with white paper and building everything darker, the gray gives you a middle value from the start. You can work both directions—into the shadows with charcoal and toward the light with white.
For this drawing, I was especially interested in the larger shapes of light and shadow across Mark's head and face. His dark hair and beard gave me some strong value shapes to work with, while the glasses introduced another kind of challenge. I didn't want to describe every detail, but instead tried to keep looking at the larger relationships and let the smaller information fit within them.
Drawing from life also has a natural time limit. The model moves a little, the light may change, and eventually the session comes to an end. There isn't time to resolve everything. I actually like that. It forces me to decide what matters and keeps the drawing from becoming too precious.
I spend a lot of time teaching drawing, but I think it's important that I continue to sit down and do it myself. Drawing remains one of the foundations of how I see and understand the things I eventually paint.
And it's especially enjoyable when the person on the other side of the easel happens to be a friend.
Mark
Charcoal and white charcoal on gray toned paper
Drawn from life at Brush & Sketch Studio