I’ve stopped going to the life classes at New Brewery Arts in Cirencester this year. I had become tired of the lack of variety in the models. We kept getting the same ones again and again. I’ve been compensating by going to the Saturday afternoon drop in life sessions at the Centre for Arts And sciences in Stroud, run by Keith Simmons. He seems to get an endless stream of new models every week. The most recent was an excellent young woman from Argentina, who was modelling for, I think, the first time, in place of her boy friend. He was the planned model, but had a rotten cold so was sitting the session out as one of the drawers. These images cover a few sessions over the last few weeks.
Back at Ardington School of Craft a few weeks ago to learn how to make a half leather bound sketchbook. I find book binding a very satisfying craft, and I love to make my own sketchbooks. I haven’t bought one for a couple of years now. This one looks almost professional.
As promised, a very small selection of the astonishing range of work produced over the week. We had an end of course show in the golf club. I can’t credit each of the artists I’m afraid as I didn’t take notes. Inspiring and also a bit frightening. Where do I even start?
I often go through phases where I just want to copy work by an artist I admire. I very much admire Degas, and recently bought a catalogue of an exhibition of his nudes held in Boston a few years ago. They are astonishing. I’ve been exploring them in pencil. The more I look, the more I am amazed.
Something of a block at the moment. I usually find the best way out of it is just to copy something good. I’ve just bought a lovely book on Degas and the Nude (the catalogue of an exhibition in Boston a few years ago) and that is crammed with wonderful stuff
Drawing a model we have used many times before. He can really hold a pose. Here we explored movement. He moved every two minutes and we started a new drawing on the same sheet each time. First he just changed position on the spot, which I drew in pencil.
Then he stood, then squatted, then stood again. I tried an old technique of drawing with two coloured pencils held together.
Finally, he moved around a central support. After a while I completely lost which legs belonged to which torso, but it didn’t matter that much.
Working on pastels today, with an excellent model. The same one we had for the workshop on “Drawing Like Raphael”. Can hold a difficult pose and looks very renaissance, if you ignore the tattoos and, shall we just say, acoutriments. First a white chalk structural drawing, then colour applied and blended in, which would not be my chosen technique, but it can work.