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Jos Sances
Under Shelter, Art during the COVID–19 Pandemic
Scratchboard drawings
2020
Photo credit: Kevan Jenson
I returned to a point fairly close to my first one to get my third sketch of this pose. This time I used black and white conté crayons on grey toned paper.
To provide a bit of textural contrast between the figure and the background I used a wet paintbrush to blend the latter.
This took about 15 minutes.
Our second pose was a 10 minute one, like the first. As usual I switched to charcoal on A3 paper for this. Less usually, I did two sketches from the same position, deliberately aiming to keep the second one more minimal than the first.
As I recall, I took about 7 or 8 minutes to do this pair of sketches and then decided to spend a couple of minutes preparing the materials for my sketch of the next pose rather than rushing to grab another sketch of this one.
I brought some A2 paper with me to this week's life class and for our third pose (another 10 minute one) I decided to start using it. I stuck with the charcoal I'd used for my previous sketches.
This one took me slightly less than the full 10 minutes.
I continued sketching the fourth (10 minute) pose with my brush pen, first of all choosing a different angle and then going in for some details.
For the next pose (also 10 minutes), I particularly liked the tripod effect formed by Elena's arms and her body as seen from the position I was at when she took up the pose. I switched to a 5.6mm / 6B clutch pencil for this sketch.
Our model for this session was Elena. This week we mostly had 20 minute poses.
I missed most of the first pose, but I think I probably had about 5 minutes to do this sketch, which I did with a 3B pencil in my A4 sketchbook.
We finally switched away from 20 minute poses, but only as far as 15 minute ones. I got 3 sketches out of this pose (2 on this page one on another) so I guess they were about 5 minutes each.
Both of these two were done with pencil.
After tea, we went onto a series of 15 minute poses to finish our session.
For the first of these I decided the time had come to have another go at working on black paper. I decided to use white conté crayon as my drawing medium, with a bit of black conté and some finger blending to get some shades of grey.
There were lots of fascinating triangles (both in the limbs and the negative spaces between them) in this pose as seen from this angle.
I had about half the time remaining on this 10 minute pose once I'd finished my previous sketch, so I switched back to A3 paper but carried on using my clutch pencil to grab this full-body sketch.
After my initial pencil sketch I switched to charcoal on A3 paper with a looser style for some quicker sketches of the same pose.
This one took slightly less than 5 minutes.
I moved from pencils on A4 paper to charcoal on A3 paper for the second (10 minute) pose. This sketch probably took about 6 or 7 minutes.
After an hour of 10 minute poses, we moved to a 30 minute one to bring us up to our tea break.
I decided to approach this with a line and wash drawing, starting with a relatively careful pencil sketch and then a pen sketch on top before finishing with the watercolour washes.
After finishing my main sketch of this pose, I decided to stick with charcoal and the same angle but go for a quick portrait study.
I only had about 3 minutes or so for this, which was not really enough for the level of detail I wanted to achieve.
After finishing a set of smaller sketches on a sheet of A2 paper for the first half of this pose, I decided to finish the pose with one more sketch using a whole sheet of A2.
Like the previous ones this was done with charcoal.
We restarted after the break with another 20 minute pose, as all the earlier ones had been.
I decided to go for a line and wash sketch this time, with just indigo for the watercolour.
This was our final pose of the session with Elena (the model), who had to leave a bit early to get to a meeting. We had about 18 minutes for this one and I spent the whole time working on this compressed charcoal sketch on A2 paper.
After putting down the first few lines, I realised I'd set the figure a bit too far to the left, so I roughly erased it and started again. Some of the original lines show through but I think they help to give a sense of energy to the sketch.
My final sketch of the first pose was a quick one to use up the final minute of the pose. I carried on with a slightly longer but still fairly quick sketch of the next pose on the same sheet.
Most of the poses in this session were quite similar to each other but Lily provided us with a an excitingly different and rather challenging one for the final 10 minutes before the tea break, lying on he back with her legs up on a box and her head hanging off the edge of the table.
I managed to get 3 charcoal sketches of the pose from different angles. This, the first of them, is in my opinion definiteley the best.
Our second pose was supposed to be a 20 minute one, and I had nearly 15 minutes left when I started this pencil sketch.
The pose got aborted somewhat early because Lily was finding it too uncomfortable to hold. Fortunately I just about managed to get down what I wanted from this sketch before the pose finished.
The model for this week's life drawing class was Patrick, for the first time this year.
We started with a few 10 minute poses. This was my sketch of the first one, done with a 3B pencil in my A4 sketchbook.
For today's session I was trying, not entirely successfully, to simplify my drawings a bit, in line with things I've been studying in this year's Figuary.
Having not got round to doing a line and wash sketch earlier in the session I grabbed the final opportunity to do so with the last pose of the day. The way that Lily's left leg receded into shadow was particularly striking and I think I managed to capture that reasonably well, although the proportions are slightly off-beam despite me having spent a fairly large amount of the available time working on the initial pencil sketch.
By the time I'd done the inking there were only about 5 minutes left, so I decided to go with a monochrome watercolour palette of indigo (all applied with my water brush pen as I didn't want to waste time going to fetch a pot of water to use with my brushes).
I decided to try a portrait study in charcoal for the final 5 minutes or so of this pose.
After several minutes I realised that I'd put the face a bit too far back relative to the shoulder and the back of the head. I rubbed out the face with my hand and restarted it but unfortunately only had about a minute left by that point, so it ended up not being quite as fully developed as i was intending. Definitely not a good likeness of Lily!
After my pen sketch, I switched back to a pencil and A3 paper to do some more sketches of the same 20 minute pose.
I had intended to do 3 sketches on the same sheet but ended up only getting two done.
This was the final pose before the tea break.
Having avoided applying water to my final sketch of the previous pose because I didn't want to spoil the sketch on the other side of that page, I decided to do another one with a non-permanent ink pen on the next page, so that any bleed-through would go onto a fresh page and I could either work round it or incorporate it into a future sketch. I only had a small amount of space left on the next page, which I didn't want to waste, so I worked at a much smaller scale than usual for this quick, direct pen sketch.
Once I'd finished the sketch I applied water with a brush pen. I was very pleased with how this one turned out.
This sketch was done with compressed charcoal on A3 paper. It took a shade less than 5 minutes out of a 15 minute pose.
Working in reverse from the first pose, which I'd started with a relatively long sketch and then got progressively quicker, I went from short to longer sketches of the second pose. This was my second one and took about 5 minutes.
For the fourth pose, I switched to my brush pen (on top of a light pencil sketch) and an A4 sketchbook.
I didn't leave quite enough room at the top of the page to fit in the head, so I had to distort it a bit!
This sketch took about 10 minutes. The pose itself was held for 20.
I had a go at a more or less blind drawing and then worked over the top of it with some reference to the paper, but still trying to keep my attention mostly on the model.
I think this took about 3 minutes.
My final sketch of this pose didn't work as well as the first one, though it was fun to make the attempt. These two are probably the closest I've got to a landscape drawing for quite some time!
For the penultimate sketch, I felt like working on A3 paper but using conté crayon instead of charcoal. I used black for hte majority of the sketch, with just a bit of sanguine to suggest Lily's red hair.
Jos Sances
Under Shelter, Art during the COVID–19 Pandemic
Scratchboard drawings
2020
Photo credit: Kevan Jenson
Detail of WIP graphite drawing - 2020 - digital transformation in Deep Dream, using my painting Fomorii Interior II as the style. - deepdreamgenerator.com/u/artofthemystic
How to draw a kite for kids step by step is easy and simple. Kites are super fun to play with them on the beach and make them fly. There are many measures and colors, and the truth is that we would all love to blow one up. If you like kites, you can paint and color this drawing of a kite so you can design it as you prefer.
How to draw a kite step by step: youtu.be/Yw_iPCoZ6yk
Now we will draw the kite with a pencil in stages. World Kite Day falls on the second Sunday of October, on this day kite lovers fly them into the sky around the world.
Materials for work
- pencil
- eraser
- black marker
- colored pencils or watercolor paints
Getting started drawing a kite. First, draw the main shape.
Now draw two lines, one vertical and one horizontal. These will be the support rods.
Draw the tail of the snake in a single ribbon.
Draw another tail.
And one more.
Finally, decorate the kite. To make the kite bright and beautiful, use all the rainbow colors. That's it, the kite is drawn.
Interesting about kites
- The first snake was made in China in the second century BC.
- In the old days, the kite was used for fishing. Even peasants used it as a garden scarecrow.
#kite #drawingtutorial #drawingsforbeginners #drawing_video #drawing_for_kids #drawing_2020
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Pen and digital drawing 2020
By Chris Whittle
A book is a miracle.
An artwork is a miracle.
A movie is a miracle.
An album is a miracle.
They are the creative, inspired, organised and concentrated thoughts, dreams, feelings and words of a person or group to inspire, educate, entertain and encourage others.
They fly like a bird.
They leap like a leopard.
They swim like a fish.
They roar like a lion.
They carry our hopes, our joys, our loves and our faiths.
They seed.
They grow.
They fruit.
They die.
From GRACE POEMS AND VERSE
By Chris Whittle 2020