I’ve had a lot of weird, uneven results with my drawings this week, possibly because I’ve been doing more live sketches which can get so messed up as people move. Here are two unsuccessful efforts, odd palimpsest effects created by trying over and over to get pose and likeness.
The first went wrong because the man shifted his pose, along with the fact that I somehow made an older man look young on the first try.
The second one I rather like, except that I never got the full pose on the page. This man was quite a character. Everything about him was unsavory–his threatening tone of voice, his sidewinder pose, his appearance (a slinky, disco-tight striped shirt over dirty dark blue workman’s pants and expensive loafers, burnt-red skin tone livid against the green shirt, thinning hair greased into a nub of a ponytail). Then there was that pose. It was as if he was hiding something (or from someone), but he was in a large public lobby on a comfy couch, coiled tight, left hand cradling his phone, right wedged between his knees. Maybe Elmore Leonard or Quentin Tarantino could have used him; he was that kind of guy. I sure would like to do more sketches of him, but I’ve never seen him there before; I don’t think he’s a regular in this boutique mall with an office tower full of lawyers and accountants.
These are the better things I made. There are flaws in this Marie Prevost drawing, but I’m enjoying the play between detail and massing of tones in this series. I continue to enjoy the watercolor/colored pencil fashion sketches; there will be more. As for the life drawings, my shading patterns are becoming more consistent and effective, but I’m wondering how I can push them toward something with a little more texture or aesthetic interest. Just a thought for the week ahead.