Etiqueta: self portrait

Part 4 The figure and the head

Part 4 The figure and the head

Assignment 4

1. Figure study using line – Seated model in an upright chair

Upon starting this course I was worried about working big, however now I find it liberating and comfortable working bigger – this drawing was a little bigger than A1.  The paper (in spanish) was called Pergamina – a textured vinyl type paper which creates a misty effect when used with charcoal. In this drawing I used coloured pencil and charcoal.

 

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Self-Portrait Charcoal and coloured pencil on textured pergamina paper

This drawing was based on an earlier sketch I made of myself – also made in front of a very large mirror hung in my study/studio.  I had huge difficulties with my left leg and had to redraw it many times. I drew my right arm in two positions as I had to keep it moving to draw!

Of course the whole image is reversed by the mirror.

I was not entirely pleased with this drawing because of the amount of reworking and also because I re-read the assignment brief which asked to rediscover new ways to work with line – so I used experimental work that I made previously in the figure exercises in oil pastel and also an effect I encountered in Part 3 with pastel on newsprint previously painted over with acrylic gesso – the effect was almost like a fresco.

 

 

On this occasion I used a limited palette of soft pastels on newsprint pre-prepared – painted over with white acrylic gesso:

 

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Self portrait – Soft pastel, collage and gesso on cartridge paper
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Detail of self portrait

Whilst there are some inaccuracies in the scale and measurements of this study, my line work was fresher and I used a wide variety of colour, weight and style. I have managed to achieve an accurate rendering of my limbs and hands – including some skeletal landmarks.  I was much happier in this study than the first.

2. Figure study using tone – Reclining model

During this course and Part 4, I have been referring to an interesting book on drawing by Paul Thomas and Anita Taylor:

The charcoal drawing on the right was actually made by addition (not subtraction) but I also referred to a part of Experimental Drawing in which a drawing was made by the subtraction of charcoal. In the following drawing I wanted to achieve a similar effect to the RH drawing above but by subtraction. I therefore prepared the pergamina support the night before with a direct coating of compressed charcoal.

This then gave me a basis upon which I could achieve a figure study using tone. Highlights were taken out using a rubber and darker shadows by adding charcoal.

The pergamina support was not ideal for this medium but did allow for better subtraction of the charcoal.

Lighting was artificial and from a single source – in the evening without daylight.

There was also influence from studies made by Frank Auerbach – see self-portrait notes below for final drawing.

Reclining figure, Charcoal on pergamina paper

This is perhaps a style I could develop further and it did work well.  There are inaccuracies in the proportions, however I felt that the modelling using tone was good and model well placed within the sofa.

3. A portrait or self portrait combining line and tone

This final drawing is in fact an atmostpheric self-portrait using a single light source as called for in the brief. The influence was from the portraits and self-portraits made by Frank Auerbach:

Combining this with his looser line drawing portraits:

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Frank Auerbach – Self portrait, pencil and graphite

Before making my final drawing, I made some other Frank Auerbach style studies in my sketchbook:

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Also some other sketches – the RH one blind:

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Finally, I returned to a study by Frank Auerbach called ‘Head of Bruce Bernard’ – I made the following copy before embarking on my final drawing for Part 4:

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For this drawing I chose the wonderful Strathmore charcoal drawing paper that I had used before with compressed charcoal to ensure that I could achieve a wide tonal contrast combined with expressive line.  The drawing was made up of several layers  built up, erased and then built up again until finally I had a sufficient level of texture, interesting background and basis upon which to finalise highlights and expressive line.

Final drawing: 

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Self-portrait, Charcoal on Strathmore laid finish charcoal paper 95g, 45 x 30cm

 

 

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Part 4 The figure and the head

Research point – Research artists self-portraits historic and contemporary

Rembrandt (1606-1669)

One of the most prolific self portrait artists ever – he made over 100 self portraits (although some are disputed and may have been copies by his students) 10% of his total work.  The portraits painted throughout his life up until his final year can be viewed as autobiographical and include fashions, and changes in his features as he aged.

Van Gogh (1853-1890)

Van Gogh made over 30 self portraits in his lifetime. He could not afford models and used peasants as models and of course a mirror to make self portraits – one of the most famous being the one with his bandaged ear:

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Self portrait with bandage 1889 Oil on canvas

In addition to these portraits he also made other styles of portraits using autobiographical objects of his life:

Tracy Emin (1963 – )

Tracy Emin’s controversial work which includes working blind is of interest to me as I do enjoy the freedom and surprising accuracy of working in this manner. Monoprints are new to me and perhaps something for me to explore as soon as possible.

Like Van Gogh, Tracy Emin also used autobiographical objects from her life:

 

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Tracy Emin My Bed 1998 (Turner Prize nomination)

 

Frank Auerbach (1931 – )

Among the most inspirational artists for me is Frank Auerbach whose methods were very unorthodox and creative. I recently saw one of his building site paintings in Colombia. His self portraits and portraits in general interest me:

Highly creative and very different in approach. I will use his charcoal method in my submission for Assignment 4.

Part 4 The figure and the head

Project 6 Exercise 2 – Your own head

Another interesting and very enjoyable exercise – I placed a large mirror in front of me and had to make my drawings in the evening with an absence of natural light.  The light was from my left reflected against the wall using a bright LED spotlight. In addition there was light from above to give me light to work.

These were my quick studies and the larger one on the right looked a bit like my nephew – so starting to get a likeness. I omitted to measure – just drawing fast.

 

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To achieve a better likeness, I drew a construction in my sketchbook based on the guides on page 109 of the course notes:

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I used my pencil to take measurements of key features of my face in front of the mirror.

This then helped in making my second self-portrait – this time in pencil and watercolour:

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Watercolour is a medium that I love and want to develop further in POP1 if possible (alongside gouache/indian ink) – this portrait is a good likeness and it helped having the measurements. My wife and other colleagues at work all confirmed this for me.

The portrait benefitted from good lighting, and my use of pencil (4B) and watercolour with limited palette worked well – I was too heavy with the pencil around the mouth and the area around my Adams apple did not look natural. I do not have curly hair but this is artists licence!

 

Part 4 The figure and the head

Project 6 The head Exercise 1 Facial Features

For this exercise I cut out various elements from magazines – mostly fashion type images and stuck them in my sketchbook. I then drew some elements before making a couple of head drawings based on my own head looking in a mirror.

Elements:

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Then I compared a few images of eyes drawn/painted by Picasso – the master of eyes and creativity….

What a variety of different styles and mediums! An example that there really is no limit – the limit is your own imagination.

My drawings of a couple of self portraits:

They were not big as I drew them in my A5 sketchbook.

The first in pencil and the second using Prismacolor marker pens. I then made a blind contour drawing:

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I did not use any form of measurement in these drawings and that was the reason they did not really look like me. They do however represent the head in a believable form.