Let’s get right down to the business of drawing. I attend life drawing classes twice a week at Spring Street Studios, and for many years now, I’ve been drawing figures on Rives BFK Tan printmaking paper. This is an archival paper, but the reason I chose it from among the many archival papers available is its toning. I draw using white Prismacolor pencils for highlights and Staedtler graphite 2B’s for darks.
The toning is important when doing a figure drawing because it establishes a mid-tone before I make any moves. In a life drawing workshop, the problem is always how to get a drawing done in the time you’ve got. Once the pose changes, it’s gone. A lot of my strategy for life drawing involves solving the problem – how do I cover more surface area in less time? I can’t use a thicker drawing implement like charcoal because I’m finicky about detail. The toning of my paper allows me to go for the fine structures when drawing anatomy in a 20-minute or 40-minute pose by leaving me free to focus only on highest highlights and darkest shadows.
|Ilya by Daniel Maidman,
pencil on paper, 2010.
A few examples of the results of my life drawing classes are below. What strategies do you use to match your style and the time you have when figure drawing in a limited-time situation?
Much longer posts, more esoteric and with more bad words, can be found my website. And if you’re wondering, “Just who is this guy?” you’re welcome to look at my work as well and decide for yourself.