Figure Drawing in Five Stages
Because no amount of live drawing is ever enough, I attended my second zoom figure session last Wednesday. This was another long pose broken into 20 to 25-minute segments. At each break, I saved a snapshot.
Gesture Sketch & Page Layout
For the first furious minutes of this session, my goal was to capture the line of action, plot some anatomical points, map out the general composition within the page’s confines, and place the head. If one doesn’t set up the head (and a hint of the face) correctly before concerning oneself with body details, the sketch will fail. Remember what it looks like when a child pulls Barbie’s hollow head off of her carefully articulated neck and then tries to slam it back on the peg? Drawing the head last turns out like that. It just won’t look natural. After establishing the gesture, I isolated her form with cool grey washes. After around 20 to 25 minutes, there was a quick break for the model and artists.
Blocking Tone & Defining Anatomy
Once the model returned to her pose, I began to block in darker tones and refine her form. Items like jacket buttons, the curls framing her face, and fabric folds took shape. Tones in the background deepened.
Fleshtones & Facial Features
While the initial stages were all about broad strokes made in limited tones on a sienna ground, I focused on adding highlights and flesh tones in the third segment. With the basic anatomy established, it was safe to get serious about studying her facial features and adding volume to forms. Her image transitioned from the concept of a female face into a more inspired likeness. Faces take time and concentration, but I also moved around the piece so the whole picture would develop together. When there is a time limit, one can’t afford to get lost in details.
Color & Texture
Once a solid structure was in place, it was finally time to indulge in the juicy bits that all artists want to skip ahead to — color and texture! Though I experimented with revealing her fishnet stockings early on by removing rather than adding tones, I knew these lines could make or break her legs’ volume and curve. As such, I kept a separate layer with light directional lines that I could adjust periodically. It was more important to have her crimson coat pop off of the page, to make sure her feet and hands were progressing well, and to add a touch of definition to her martini glass. Since there would only be another 20–25 minutes remaining after the final break, anything left unattended would look exceptionally unfinished. My aim wasn’t to capture a perfect likeness or paint every glint of light bouncing off each stocking thread. Instead, to create a pleasing composition within the time provided.
Glam & Polish
We reached the final leg of the race, and it was a dead sprint. Anything left untouched or unattended now would forever remain so. I don’t touch the drawing once the model has packed up and gone home. There is no beauty in overworking a life study past the deadline. Once the model has moved on, so should the artist. This was when I hit the canvas hard with the darkest darks and lightest lights. All of the sequins lit up, the nail polish was painted on, final anatomical tweaks were made, and the background received the last hint of shadow. And that is it; time is up!
Secret 6th Stage: Reflection & Loathing
No artwork is ever finished, and rarely is the artist pleased with her own performance. That is why we keep coming back — to nudge forward with each attempt. By examining the flaws in our own work, we grow. I am already looking forward to the next session!
