Tag Archives: distance art degree

People in Context 1 – Research Point – Figures in Interiors

Look at some paintings of figures in interiors from different periods and choose two or three pictures that particularly appeal to you. At least one of these should be from the twentieth or twenty-first century. Consider what you think the artists’ intentions are and look at the technical and creative solutions that they’ve brought to the subject.

Two artists that came straight to mind for this research point are two artists that I have already researched David Hockney and Edward Hopper.

David Hockney

Mr and Mrs. Clark and Percy david Hockney

Mr and Mrs. Clark and Percy David Hockney

The relationship between the figures in David Hockney’s paintings are not exactly clear as he separates them leaving you the name of the painting to work this out for yourself.  His subjects especially in his 1970’s paintings were often wealthy, and in Paintings such as Mr and Mrs. Clark and Percy (left) you do get the impression that they are wealthy professionals of some sort.

David Hokney My parents

David Hokney My parents

Linear perspective plays a big part in Hockney’s paintings. The subjects in his more familiar figures in interior paintings were often set in front of a flat back wall with a mat, table or chair painted in perspective to add depth to the painting. As well is this he also painted open doors or a view through a window to create depth.

David Hockney Card Players No1

David Hockney Card Players No1

When you look at the painting card players left you can see that he knew others were also aware of the linear perspective to his paintings. Here he reverses it adding a little confusion for the viewer.

Edward Hopper

Edward Hopper Morning Sun (1952)

Edward Hopper Morning Sun (1952)

Edward hopper’s paintings portray the loneliness of life in America at that time, a big country that like Thailand probably had a lot of folk from the country to the city for work, where they knew no one. To get this loneliness across he painted lonely figures in almost empty apartments using cold colours to depict bare walls and it worked.

Vadim Zanginian

While browsing through hundreds of paintings for this research pint I came across this Armenian artist who’s approach to painting this subject has really opened my my mind up. Vadim Zanginian paints with wild, wide brushstrokes that don’t allow you to focus on the interior behind the model even though you are well aware of it and the furniture in the room.

John Singer Sargent

The Model Interior with Standing Figure - John Singer Sargent

The Model Interior with Standing Figure – John Singer Sargent

A similar technique can be seen here in John Singer Sargent’s painting ‘The Model: Interior with Standing Figure’. This is probably one of the most beautiful paintings I have come across this year. At first glance I saw a wonderfully clear figure standing in front of a sketchy background with beautiful tones as I enlarged it I could see it was almost a tonal study, painted quite quickly or so it seems but very effective.

Pierre Bonnard

Pierre Bonnard - Model in Backlight

Pierre Bonnard – Model in Backlight

In the painting ‘Pierre Bonnard – Model in Backlight’ (left). The foreground and the model are solid but as you move towards the background the swirls of colour separated  by white spaces force you to see light shining through a window or patio door covered by a net curtain.

Observing the Human Figure 2 – Linear Figure Studies

I began this exercise with my watercolour field set, XL sketchbook and a medium sized tank watercolour brush (if that’s what you call them). I have used this brush for sketching quite a while now and I am really comfortable with it.

For the first few studies I sat down with my model as I messed up a lot in the drawing 1 course due to being sat on a high chair which made her head look bigger in the drawings.

1 - Watercolour with Backround

1 – Watercolour with Backround

1 - Watercolour with Background Notes

1 – Watercolour with Background Notes

Drawing the background of the above study wasn’t planned, it just happened. Once I had drawn the figure I decided to add some shadow and then with not wanting to waste paper I took the chance to draw the background which worked out quite well as it contained everything that I had been painting so far in this course,

The drawing of the figure itself was not brilliant, the light came from different light sources such as a lamp, the kitchen and the bathroom so I found it quite difficult to depict the shadows using line. The figure is in proportion but the eye does get lost in a confusion of lines in the legs and arms.  The face bares no resemblance, although it does look Asian.

I started to experiment with drips here but soon stopped it was a nice clean drawing and it was a shape to ruin it.

2 - Second Watercolour Sketch

2 – Second Watercolour Sketch

2 - Second Watercolour Sketch Notes

2 – Second Watercolour Sketch Notes

 

 

 

 

 

 

 

 

For the second watercolour study I sat at the front of the model  with her in another comfortable position, one leg behind her with the other in front and her right hand gripping her ankle. As with the first study I painted the lines with a lighter colour first and then went over the outline with black. This time I only painted in simple shadows rather than a complex background. The body is in proportion but I was unable to depict the foreshortening on her right arm especially from her elbow to her hand which looks straight and therefor to short.

3 - Third Watercolour Sketch

3 – Third Watercolour Sketch

3 - Third Watercolour Sketch Notes

3 – Third Watercolour Sketch Notes

 

 

 

 

 

 

 

 

 

The third sketch was my favourite, it was a standing pose and I sat on a low chair to draw her so she was taller than me so as not to depict her as a midget (she is only five foot). The piece gave man idea to maybe do a piece with several poses my the same model on a long support wearing these simple clothes that made her look quite cute and I think I managed to capture that in this drawing with her knees and feet together. At this stage I planned to do a larger painting from this in acrylic but I don’t have a great track record of enlarging smaller studies freehand.

4 - Fourth Watercolour Sketch

4 – Fourth Watercolour Sketch

6 - Sixth Watercolour Sketch

6 – Sixth Watercolour Sketch

 

 

 

 

 

 

 

 

 

5 - Fifth atercolour Sketch

5 – Fifth atercolour Sketch

The next three went brilliant especially the fourth which made her look like a witch the body on all three however were in proportion and I even coped alright with the foreshortening on the reclining poses, something that I do manage to have a problem with most of the time when drawing from life.

One thing that I am happy with is that in all the watercolour studies so far I have managed to get the models legs looking quite nice and in linear figure studies from what i can see so far, that really helps.

 

 

7 - Experimenting with Lino Ballpoit

7 – Experimenting with Lino Ballpoint

9 - Linear Study in Ballpoint

9 – Linear Study in Ballpoint

8 - More Ballpoint Sketches

8 – More Ballpoint Sketches

 

 

 

 

 

 

 

 

From there I decided to experiment with line in a completely different way with ballpoint inspired by an earlier sketch that I did in the style of Alberto Giacometti  In these  4 drawings I decided to build up the three dimensional form of the figure by using a spiraling/squirkling technique.

The first drawing was fine but was  too tight for my liking so I worked on another three, none to perfection although I can see that with a bit of practise this would be a really effective technique but could it be used with a painting medium?

9 - Linear Study in Ballpoint

9 – Linear Study in Ballpoint

I wanted to find out if I could recreate the earlier standing pose on a larger scale and still keep the feminine qualities that I depicted in the watercolour skretch. I began by painting a piece of card with a semi-opaque wash of light blue then once it was dry used a more opaque mix of the same blue to draw the outline before painting over it again with black then I depicted the light and shade with Mouse Grey and Burnt Umber. The result wasn’t brilliant as I messed up on the face and there was  more length in the body but it wasn’t that bad either.

 

 

 

11 - Acrylic Linear Study - Messing Up

11 – Acrylic Linear Study – Messing Up

This next study was painted on a semi-opaque wash of Yellow Ochre. I thought it would be a really simple pose but when I came to paint the outline, this time in Burnt Umber I messed up really badly. I thought I would be able to correct it by painting over the messed up lines with the same colour as the base coat but messed up even more as the top layer was opaque. I probably shouldn’t have stopped there but by this time I was totally put off this pose but I will try it again in the next exercise, Tonal study.

 

 

 

The final piece for this exercise was a linear study painted from the watercolour drawing in the previous exercise Drawing the Human Figure. I used the Mouse Grey again to paint the outline onto a semi-opaque wash of Burnt Umber which gave the board a wood grain look. I wasn’t sure what I was going to do next but then imagined a darker line over the top of the light grey and so went with that. The result was that the painting had an almost tiger feel to it, I included some shadow but it looks like she has peed herself.

13 - Going over LInes in a Darker Paint

13 – Going over LInes in a Darker Paint

12 - Axcrylic Linear Study on Transparent Wash

12 – Axcrylic Linear Study on Transparent Wash

Observing the Human Figure 1 – Drawing the Human Figure

The brief for this exercise was to:

Set my model in a comfortable position, sitting or lying down making sure there is sufficient light both on the subject and the working surface. 

The Head length is generally 1/7 of the full length of a standing figure, this can be used to measure proportions…Look at the shapes or outlines surrounding the figure which will help to locate the figure in space. 

Use any drawing medium to mark out the principle shapes in your sketchbook…Make several sketches, working quickly each time and adjusting measurements as you progress…Move around the figure trying out different angles.

1 Drawing in Pencil

1 Drawing in Pencil

Throughout the Drawing figures part of the Drawing 1 Course I took advantage of the fact that my girlfriend is a yoga teacher and it was no different in this exercise. Asking her to hold positions that were quite difficult so there were often breaks mid drawing.

The first pose in pencil wasn’t the easiest for me or the model but it was an extremely quick drawing. This was down to being able to draw large parts of the figure in one continuous line such as the head back bottom under the thigh. It was also a very easy pose to position in my sketchbook.

 

 

2 Drawing in Charcoal

2 Drawing in Charcoal

The second drawing was in charcoal and was a seated pose so it gave my model a break for a few minutes. Working with this medium it didn’t take long to get the drawing anatomically correct but then again I have had a lot of practise drawing the same model.

The benefit of this pose is being able to use the shapes within the figure to get the measurements right. The face bares no resemblance at all but I’m not too bothered at this stage it was the outline and negative space that I was concentrating on.

 

 

4 Drawing in Ballpoint Pen

3 Drawing in Ballpoint Pen

The third pose in ballpoint pen was inspired by Gustav Klimt’s Goldfish which is probably one of my favourite Klimt paintings. Again this was quite a quick pose but quite awkward so we had to take a break mid pose. It is a nice pose to sketch but probably one I would not choose to paint due to the length of time it would take in a very uncomfortable position.

The back muscles look nice especially the prominent muscles at either side of the spine are wonderful to draw but the bottom is not defined this is due to my girlfriend, like most Thais, not having a prominent bottom.

 

 

3 Continuous Outline Drawing

4 Continuous Outline Drawing

On the next drawing I decided to do the same pose but this time I decided to draw the outline with one continuous line. The benefit or practising to draw with one continuous line is that when it comes to drawing with paint on a canvas or other support I will hopefully be making less corrections.

Drawing in pencil this time I managed to give her what she wished for, a large bum.

 

 

 

5 Drawing in Oil Pastel

5 Drawing in Oil Pastel

The next pose was probably the most difficult for her too hold so I did the drawing in stages. My chosen medium for this drawing was oil pastel. I drew the outline very quickly with a neutral colour and did my best to mark out folds of skin and shadow before taking a break. This allowed me to build up colour and tone without having to look at the model all the time and she wasn’t having to stay long in the position for the second sitting while I corrected  some outlines.

Parts of the drawing do look incorrect and she looks fatter in the drawing than she actually is but rather than keep working on it I decided to move on to the next.

6 Back to Pencil

6 Back to Pencil

The next pose was a lot nicer and even though it looks quite technical was very easy to draw with the actual figure taking me not much more than a couple of minutes to draw. This time I decided. to add the chair and some background.

 

 

 

 

 

 

7 Another Drawing in Oil Pastel

7 Another Drawing in Oil Pastel

From there I went back to the oil pastel with a pose that was also very quick and easy to draw this time from the front with the model slightly more upright. As I was drawing from the front, the shapes on the left and right arm and leg were almost symmetrical which saved some time so I managed to add a bit of colour and tone without having to take a break.

I really like this pose due as her breasts and shoulders have a really nice shape, I will probably come back to paint something similar later.

 

 

 

8 Watercolour Sketch

8 Watercolour Sketch

I chose to do the next drawing in watercolour in my mixed media sketchbook with a similar pose to the second drawing in charcoal but this time with the head turned towards the wall so I didn’t have to mess around with facial features, It’s really easy to draw on a small scale in watercolour  and it helped drawing in charcoal first as I was already got used to drawing the shapes involve with this pose.

 

 

 

 

On the whole I think I did quite well on this exercise and tried out different drawing mediums rather than just charcoal. I know I was told to focus on outline but I wanted to a bit further.