Drapery studies and 'two graces'

 A couple of drapery studies, followed by a study of Rubens' 'Three Graces' (only two were drawn though!). As regards the drapery, I was being aware of the form underneath, while trying to understand the logic of the 'flow/fall' of the overlying drapery, and also how the thickness of the cloth influences both form and flow.

1.

2.

3.

----------------

Ref images by kind courtesy of - 1) Jamari Lior (jlior) and 2) Lockstock, in Deviantart.
                                     

Assorted studies, May-Jun '14 (*** Updated)

(*** UPDATED with a few close-ups below...)

Assorted figure studies from May and early June. All on A3 size paper using a variety of dry media - charcoal, pastel, hard pastel, watersoluble lead etc.

My heartiest gratitude to the various reference sources, who are unknown to me and hence couldn't be named. All credit for original refs belong to them. I thank them for helping extend my learning and would be very happy to acknowledge individually if contacted.

Kindly click to view in full size (one large combo image broken into two).

A few close-ups added later... (please click to view in full size)

9 Figures + 1 watercolor head

***Pictures Updated - Apr 23rd.

All the figures, except one, are the produce of one evening's hurried work. I worked on a few details in the next evening, because I wasn't happy.  Even though the outcome is less than satisfactory, I guess I can't post the better ones only - this is a journey of stops and starts after all. Same with the watercolor portrait study below... no excuses for sloppy work!

Each set in 15" x 22" (half sheet) paper, using a variety of dry media - conte, hard and soft pastels, cretacolor lead. Please click to view in actual size.

1.

2.

3.

4.

5.

Ref image by kind courtesy of John Logan from Deviantart.

6. 11" x 15", watercolor on handmade paper (reverse of textured side used).

Ref image by kind courtesy of Gairm (H.) in Deviantart.

Just a small update

Just a small update of three studies... Ref sources given below as usual.

1. 15" x 11", watercolor on handmade paper (using this medium after a while).

2. A3 size, pastel on paper, preliminary study for possible future acrylic.

3. A3 size, quick pastel study on paper

Ref images by kind courtesy of
1. Hannah (hannad69 on deviantart)
2. Karl Lewis (kjlewis on deviantart)
3. Unknown ref source - my heartiest gratitude to all three for helping extend my learning. 

Optical mixing in Pastel

A3, pastel on paper. I love this way of obtaining in-between shades by optically mixing two or more colors - the retina tends to interpret a mix of the different-colored strokes (which are laid cross-wise or in parallel) as a tertiary color.

In case you're interested - posted below are a couple of old (2011) w.i.p sequences, showing the same technique in some detail. These I had posted elsewhere, although I'm not sure if I had posted the last sequence in this blog as well. Being more than 2 years old, the technical quality of the drawings, and my understanding of form is obviously inferior - but then, that itself is something to learn from :)

Sequence 1

15" x 11", pastels on cartridge paper.

1. The initial sketch in Conte sanguine pencil. Will fix drawing issues later as the painting progresses.

2. Having painted the background and hair, I started laying down the under-layer for the face. The face had a light, blue-violet(ish) cast in the reference, so this underlayer will 'peep' through the hatch marks on the over-layers - thus achieving an overall optically mixed tone.

3. I darkened the eyes and started mixing a crimson-pink tone with the blues, but in strategic areas to reflect the colors variations on the face. Where I wanted the mix to be more subtle and the tone lighter (as in the neck area) I used wider spacing between the hatch marks, which were also placed parallel to each other. Whereas on the cheek and other areas, the marks were crossed and denser.

4. Have started to add the over-layers - the scarlets and the pale creams. Have also worked further on the lips. The whites of the eyes still have a light greenish underlayer. I'm gradually encroaching upon the highlit areas now

5. Finished version. I have used light finger blending to harmonized certain areas, but the strokes mostly retain individual definition. Could have worked more on a few small areas, but I thought I'd call it a day and decided to put it away.

Sequence 2

15" x 11" on white cartridge paper using assorted brands.

1. The initial sketch in black conte. Looks a bit too finished, and that's because at first I didn't intend to bring out my pastels for this. I've already started to work on the background...

2. Background :- applied white on the undermix of cerulean blue and light orange, and lightly blended it all (with the thumb). Figure :- beginning to apply the under-layer... I intend to optically mix this with subsequent layers.

3. Have started to integrate the different layers. Very light blending here and there, mostly cross-hatching strokes.

 4. The finished painting. Approx 2.30-45 hours, done at one sitting.

Figure and portrait references by kind courtesy of (in order of top to bottom):
1. Cable9tuba in DeviantArt.
2. Tassjafocused in DeviantArt.
3. Daniel Burns (Tanis Macphail is model for the last two).

Thank You!