Class 8: An Atrosity

          On Saturday, we had an extra hour to paint from the model.  Instead of our usual 3, we had nearly 4 hours. As I am fascinated by the various shapes, patterns, contours, and line relationships in the figure, I was excited about this.  We started class by drawing thumbnails of 6 different poses.  We then voted as a class as to which pose we wanted to use for the entire session.  I moved around the model to try to find an acceptable view to paint from.  I discovered one view where no other student was already set up that was decent.  Serendipitously, this is the position the class voted for.  I complete a hasty black and white study, but was eager to add color.  My teacher had recommended a limited palette of white, venetian red, yellow ochre, and ultramarine.  I was able to mix some believable flesh tones from this classic palette.
         Unfortunately, I struggled the entire class session to find the form of the model's position.  It was a real exercise in foreshortening, and I enjoyed this challenge immensely.  My failure, however, was caused by the fact that the position I was attempting to capture needed to be exact or the composition looked childish and unskilled.  The problem was that each time the model returned to her pose following a break, she was slightly off for me.  I kept having to correct the drawing each time she returned.  With some models, it is easy to ask them politely to move an arm up or down a little, a leg to the left, etc.  This model, however, was, well, a little temperamental.  When students asked for a slight repositioning, she was irritated and a bit testy.  I did not want to anger her, so I left her alone, and did not ask her to return to the precise previous position.  Since each negative space needed to be exact, I continually had to fix the drawing to make it correct, and never had a chance to bring the flesh to life.  Furthermore, the head is obviously off, but I didn't have time to fix that either.  I have the terrible habit of focusing on the figure, and working on the head last.  My instructor has warned me against this.  I really need to be more cognizant when I begin a figure study, and follow her advice.    
         Below are my black and white and first attempt at a color rendition of the human form:

      




        





        




           Molly encouraged me by reminding me that it was just an exercise, and indicating that it was good practice to continuing to observe the model and make corrections.  I was far less frustrated henceforth.