Artists & Illustrators – September 2019

Check class sizes before you begin

and bear in mind that while large

classes are fun, they can result in less

time with the tutor. Often there is no

structured teaching in a life class, just

a series of poses for you to try and

capture, and a tutor walking around

offering encouragement, pointers for

improvement and areas to work upon.

WHAT CAN I DO?

If you are in a class with no structured

teaching, here are three self-

motivated exercises that you could try:

1. Gesture drawing
   Suitable for: shorter 1-2 minute poses
   Getting a complete likeness in a few
   minutes is near impossible so when
   faced with quicker poses, concentrate
   on gesture not on form and tone. Look
   atthemodelandtrytoparehimorher
   downtoa seriesofessentialgestures:
   thesweepofa leg,forexample,oran

arched back. Use the side of a stick of

charcoal or pastel to indicate the

gesture broadly. Be prepared to get

stuck in quickly and make decisive

marks – it is surprising how time fl ies.

What you will learn: To be instinctive

and to identify the essential elements

of a pose quickly.

2. Measuring up
   Suitable for: longer 15+ minute poses
   Choose a dominant element of the
   body such as the head and draw it on
   your page. Now use this as a unit of
   measurement with which to mark out
   all the other elements of the fi gure.
   Is the fi gure eight heads tall or nine?
   It can help to draw a stick man-style
   structure and then bulk out your fi gure
   with measured units.

Whatyouwilllearn:Thissimple

exercisehelpsfocusonproportion

and train your eye to better see it.

3. Negative space
   Suitable for: classes in larger rooms
   If you have space to step back from
   the model a little, this can be a fun
   exercise to try. Rather than drawing
   the fi gure itself, focus instead on the
   space around the model.
   Begin by looking at the gap between
   the model’s arm and body. What
   shape is this space? Draw it on your
   page with no other reference. Next
   fi nd another shape: a gap between
   the legs if crossed, for example. Draw
   that space too. Identify other spaces
   around the model’s body. Think of
   them as larger shapes at fi rst and
   then refi ne them if time allows.

What you will learn: To not draw what

youthinkyousee– an“arm”– and

insteadthinkoftheentiresceneasa

seriesofinterlockingshapes.

Be prepared to get stuck in

quickly and make decisive marks

• it is surprising how time flies

LIFE DRAWING KIT

Not your fi rst rodeo? Try these different products
to shake up your next fi gure drawing session

Daler-Rowney Warm Pastel Papers

A mid-toned paper allows you to work

up to highlights and down to shadows.

http://www.daler-rowney.com

Derwent XL Charcoal

Chunkier slabs of charcoal won’t snap

as easily, inspiring bolder mark making.

http://www.derwentart.com

Faber-Castell Pitt Monochrome Set

This Renaissance-inspired drawing set

adds sepia, sanguine and white pencils.

http://www.faber-castell.eu

ArtGraf Tailor Shape

Blocks of pigment shaped like tailor’s

pencils, ideal for sweeping lines.

http://www.viarco.pt

Zest-It Pencil Blend

Create smoother transitions with

this citrus-smelling solvent.

http://www.zest-it.com

Nitram Sharpening Bloc

Hone your drawing media to a

fi ne point on this abrasive paddle.

http://www.nitramcharcoal.com

ISTOCK