Putting my final three images together allows me to see that there are variations in my approach of line and tone. I was worried that the seated pose would be too tonal to count as a line drawing but I was very much using the putty rubber to draw lines into the charcoal. These drawing of negative lines is clearly visible in all areas of the pose. In contrast the reclining figure has no obvious line markings, neither positive or negative. I did use a putty rubber but to remove large areas of tone, leaving little evidence behind. I wasn’t drawing with the eraser this time. It is amazing that the process of removing media off paper can be two totally different experiences (drawing or erasing) and yet the ultimate goal of removing that medium is in fact the same in both.The seated drawing is my favourite of the three. I actually like the fact that it is headless, and the superimposed marble neck adds a question mark to the work. at first glance you may not realise that you are looking at a severed neck, but when you do notice it superimposed it makes you stop and wonder what is going on here. It makes it a deliberate act (rather than a random act of an artist running out of paper).
Compositionally I am pleased with all three drawings but for different reasons. The seated pose is very central with only the barest suggestion of a room behind. Without the severed neck overlay this may be seen as quite a boring position, but with the addition of the overlay, the closeness of the pose to the view and the full frontal view create quite an impact. The body becomes a statue in that space. The reclining figure is placed fairly centrally on the page too, but the foreshortening of the pose add interest. I haven’t placed the figure in a room, I don’t think it needs to be. The drawing is a believable pose without a setting, the model is firmly lying on the floor (I am very drawn to this type of uncluttered pose). The position of the limbs is important in this image. The strong diagonal that the raised leg provides is mirrored by the raised arm and elbow, and then balanced by the laterally extended arm. There are several triangles to be found within the pose which allow your eye to remain within the frame. I was drawn to this pose because of the negative shapes provided by the limbs, but in fact the negative spaces are more strong in the two other drawings. In the seated pose the negative spaces within the confines of the chair are very strong as is that defined by the models left knee.
In the portrait it is the negative space behind the right ear and neck that is so important. Its dark tone balances out the dark tones of the eyes and the hair. The drawing is so much stronger for the pose to be positioned to the left of the paper than had it been central. This skewing of position allows the twist of the model’s head on his shoulders to be determined, which adds dynamism to the image. It also allows the quite hard stare to connect with the viewer. Whilst the model is clearly stationary in this pose, the space to the right of the head allows the view to perceive that the model could move into it should he want to. Looking at the portrait again whilst I am typing this, I think that I should have more shading on the models t-shirt, especially on the right side.
Overall I am pleased with these. I think they are compositionally strong, each for different reasons, show development of technical skill and expansion of drawing practice. I will reflect on these specifically in the next post as I reflect on the assessment criteria.