Assignment 4 Figure study using tone - Reclining model

As I wish to use a similar technique to Ian Hodgson, I decided to use a mid-tone smear of black conté, into which I would work white and black contés, charcoals and pencils - both graphite and white chalk pastel.

For my subject, I chose to use my daughter as my model, wearing tight spandex trousers and a light, decorative cream long-sleeved shirt. I wanted to get a sense of foreshortening in the pose so positioned myself at about 35 degrees to her prone form.

I experimented with the materials in my sketchbook, as can be seen in (fig. 1). I wanted to create a slightly darker background to what I had previously used in my figural studies in earlier exercises.

Fig. 1. Media study

My initial sketch had Sacha's knees folded together and bent (fig. 2). Although I liked this, I later thought that the pose did not allow for a flow of movement than a pose with her legs curled and lying flatter had. I experimented with the camera to try different poses and came up with my second preliminary sketch (fig. 3). I feel that this pose has a greater sense of flow towards the head - the focal point of the pose.

Fig. 2. Preliminary sketch in sketchbook

Fig. 3. Contact sheet showing varying arrangements of legs, position and lighting. 

I completed another preliminary sketch to check whether the composition was as I wished it to be (fig. 4).

Fig. 4. Second preliminary sketch showing changed placement of legs to enhance movement up the figure.

Once again, due to my restrictions of moving country in just a few days time, needing to transport my artworks via airplane, and eventually via post for final assessment, I chose to work on an A2 format, instead of the suggested A1 scale.

As the media I chose to use is fairly messy, I chose to work from left to right. I sketch in the whole figure very lightly in 2B pencil. I then started with the darkest forms found in my daughter's trousers. I tried to contrast my handling of these trousers, with a more sketchy approach to the interpretation of the couch cushions.

In studying the lighting on the forms, I realized that there was a main shaft of whiter light that cross against the main axis of my daughter's pose, highlighting her hands and top of her head, the cushion behind her hands and the patch of light on the floor. I think this adds a bit of movement and tension to the scene, as her face is not receiving the main attention to light. By this stage it was already getting late into the evening, and I had to call it a day.

Recommencing my study in the morning was hard as the lighting was slightly different, and it was harder to see my preliminary sketch. However, I eventually got back into the swing of what I had been working on and completed the sketch.

Drawing my daughter's chest and the end of her ponytail was tricky as she has died her hair in the ombre style meaning that the tips of her hair are less defined and blend in with her shirt colors, causing it to be tricky to create a convincing differentiation in forms.

I also found her face rather tricky to get a likeness of her. Once again, I had to draw someone with glasses, which is challenging. Fortunately, the media I was using is forgiving, and allows the reworking of forms. I was eventually satisfied that her face was a reasonable likeness and was proportional (fig.5).

Fig. 5. Final drawing of Sacha Johnston.

On the whole, I think that this drawing shows that I am gaining freedom in my rendering of tonal values. I am also better able to play with light to create movement and a sense of tension within my figural portraits. I think the panel of medium tone just behind the head, helps to focus the movement between my daughter's eyes and her I-pad tablet, creating an area of interest. What is she reading or watching?