Shading and line

Following my mini melt-down during my last life drawing session I decided I needed to go back to basics – grab some fruit and do a couple of quick studies.  I love drawing fruit and veg – eggs as well.  The reason is they give you a good opportunity to explore how light hits an organic form.  Because of their curved nature you get to explore the dexterity of line – to almost none at all to the dark underbelly of the form you are drawing.

Really – drawing fruit and veg for me is the closest you can get to having a life model of your own – if that makes any sense at all!

Pear - 2B Pencil
Pear – 2B Pencil
Tangerines - 2B Pencil
Tangerines – 2B Pencil

When doing these very simple exercises I started to think of the possibilities of other experiments I could do.  For example I would like to explore using different surfaces such as sand paper.  Also using paper with a bit of tooth in it and staring with a dark background.   Such as covering the whole surface in charcoal and working back into it with a rubber and a light chalk to achieve a sense of 3d and dexterity of line.

Anyway – though these exercises took me only about 20 mins I started to recognize where I was going wrong in the life drawing session – school boy errors really.  Start with lightest tone first and build up.

Hands and foot quicky

I struggle with hands and feet – just so happened I was in a park in Cardiff – saw a sculpture in a park and thought – well – as I am here…

Hands - 2B Pencil
Hands – 2B Pencil
More hands - different angle
More hands – different angle

I accidentally fell into this style of a foot below – I shall call this my Giacometti foot.  Note to self – must do a post on him.  He is one of my favorites.




Detail of a Henry Moore, Upright motif no. 8, 1956

Whilst at the museum I couldn’t resist sketching a bit of this Henry Moore,  I wanted to have a go at experimenting with tone.  I really enjoy sketching works of contemporary sculptors such as Moore and Giacometti in particular.  You get lost in the forms they create and you almost feel like you are building with them and getting a sense of what it must have been like to make these breath taking pieces.

…I need to work more on variation of tone

It was almost like molding something out of the pencil I was using on to the paper and trying to make the most of how the light hits the object.  To be honest what this example of mine demonstrates is I need to work more on variation of tone – that bit has been lost some how over the fallow years!


8 October 2016, Detail of a Henry Moore, Upright motif no. 8, 1956