Charcoal on 14x17 vellum bristol. This is a 3-hour pose of Liza, I believe we are on our the 7th meeting in tonal drawing. In the heirarchy of interest, I decided to have the thigh as the first, as it was getting most of the light. The torso as the second and the head as third. After I blocked the light from the shadow, I used the soft charcoal vine then blend it with a brush to create a middletone, then pick up some highlights. Although I started this drawing with a linear form, it is always ideal to soften them in the last stage- a soft charcoal pencil is best to used at this stage. I tried to pick some highlights for the hair in its middle section to suggest the roundness and give volume to the face. The background seemingly appeared as it was, although I toned it down so as not to distract my focal point. I was trying to maintain some nice highlights at the lower back of the torso, but Rick suggested to keep it simple and to practice squinting a lot more. He suggested also that darkening the lower part of the thigh will give space between the foot--that is, if you have an adjacent limb or part of object that needed to appear one part receeding the other. It not yet perfect, but I am getting there.

Charcoal on 14x17 vellum bristol. The first drawing on top was done from a live model; the rest was done from photos. The focal point of drawing #1 is the left shoulder and the left pectoralis as the light dramatically hits the top left side of the model. I tried to carry-on applying the technique to drawing #2 and 3, but somehow it didn't look right. I tried to concentrate on the lighting/point of interest on these drawings. Nevertheless, I thought that the renditions on these three lack the finese in execution and mastery on the concept of lighting. Rick explained, that drawing is like problem solving; it's not like the answers are right there on what the artist see, but it is how he execute it and decide where he want the point of interest is, in order to communicate with his artwork effectively and expressively. Not everything that the artist see in the model is best to put it all in drawing, otherwise it will create cluster of focus. Decide on what information you want to put in your drawing and communicate with it by rendering that info in a simple and clear manner. By squinting one can see almost immediately the obvious info from the model and try to capture that in the drawing.

A brief lesson on head drawing

Charcoal on 14x17 vellum bristol. A technique that I learned from Sergio's class was emphasizing the blocking-in of dark and light areas. As a practice I did this artwork of James Taylor. I was actually multitasking of watching his concert while I was drawing something else. Then suddenly, I thought of drawing him from my laptop that I have to freeze him. I have seen in other class how they stretch these lines on a head to show the underlining , muscle divisions, and planes. I was trying to get a copy of it for me to practice on. It's funny to think that this is my second time to encounter a teacher with the same first name; first was Sergio Esmilla as my violin mentor, now it's Sergio Sanchez in drawing.

Don't underestimate a mustard seed.

Two years ago, I don't know what came on to me that one day I got myself buying some pads, pencils, and eraser; then I started practicing figures. I have been drawing every now and then, but it never got me to a point to really do something about it. Now I'm at LAAFA taking hard core lessons on figure drawing; I'm even contemplating of getting into their program. It is amazing how a simple and small idea could germinate into one big serious thing that will change my life. If you have one similar to this, try putting it into action; see how will it transform yourself... you may not want to turn your back ever again.

Last summer's bliss

Conti on 18x24 newsprint. I signed-in at LAAFA last summer, and these are the artworks I've done from short poses of 3 and 5 mins, I believe. It was the first time I have ever done with a live model. Looking back, I guess my practice from copying poses from books paid off. Capturing the model's gesture is always a challenge. A mix of visual and conceptual drawing also helped me in this exercise. A bit of exageration emphasized the gesture. Enveloping first before doing anything is one biggy in constructing figures.

It's true when the great thinkers declared, that for whatever one has done in the past will always lead him to where he is in the present. There is no such thing as happening by accident or circumstantial. In the past, I have been drawing unmindedly, but I never knew it will eventually lead me into where I am now.

Charcoal on 14x17 vellum bristol. It has been our 4th week and I like the progress I am making. With Rick's supervision, I was able to plan this project carefully. After the meticulous measurements and finish my linear form, I applied the powder to cover the background, then thought about the hierarchy of focus of my drawing. Initially, he suggested that the head should be first, shoulder and right arm as second, left arm as third and torso, fourth. It turned out that I like better for the right shoulder and arm as first, the torso as second, head as third, then left arm as fourth. Although there is something in the farther side of the small back, but when squinting it seem to diffuse with the shadow adjacent to it, and so I have to darken that side. I have to darken the other side of the torso to a medium tone to give emphasis on the right side to pop out more towards the light and the viewer. The end part of the hair diffused with the shadows too justified by squinting to it, and to suggest the face turning towards the viewer. The right forearm, obviously has to diffuse since it is receding towards the back. I kept the legs in half tone to maintain the hierarchy. A little highlights on the left foot suggest that the foot itself is there. I have to be careful of not to give more detail on the drapery on the back of the subject so as not to cause distraction. I love what I did with the hair. It took me awhile before deciding to let go of my drawing. Then I sprayed it with a fixative. I still have a long way to go as my projects at this point still lack of lot of stuff to consider comparative to the masters. However, I know it's going to get there; it is just a matter of time.

I was not able to post last week's artwork because I messed it up, I guess from getting too excited, I got ahead of anybody else and haphazardly lost control and unity in my work; I tried to revive it for the rest of the time left in our class, but to no avail. I killed it, so to speak. I learned a lot though. Now I have to be more careful and plan the work I am going to do. I have to refrain from being too engross with the detail (with the face that time) that I could lose proportion and unity of my drawing. The nuances of tones on the subject must be simplified so the rendering will be clearer to express. Squinting must be done to check such lighting, and block in the light from the dark. An artist must be an effective communicator of his work that what he/she tries to convey on his/her art must be clear to understand. Simplicity is the key word here.

Charcoal in 14x17 vellum bristol. These are the first project we had in tonal drawing with my mentor Richard Morris. I am just starting to realize that doing this drawing has to be done slow and precise in measurements. Trying to capture the lighting in the model, to interpret and render it is another challenge. I had a great time doing these two. This one is a 3-hour pose.

First art lesson

Charcoal on 18x24 paper. I did this one for the finals at LACC Drawing I at 2005. It was my first art class I attended in my whole life, so it was quite a journey. It's not much that I learned anything about techniques in drawing; it was more of my exposure to some dry mediums and its applications. The artworks we did was simply do it your own kind of thing--a grade schooler could pass such class without effort. Such class was literally a beginning class; it appeared like most of the students just had a first crack at drawing. I was so proud of my works that I donated most of them to my teacher that she may use it in her other classes. I decided to hold on this last one for keep sake. I thought that I needed something else that will push my skills to the next level. So I left LACC.

Alakazzzaaaaamm!

A philosopher once said, for whatever happens in our past always lead us to where we are at our present situation. We are what our mind created us. If we fall short of ourselves, it is because we allow the circumstances to happen. Everyday we are faced by boundless choices. Be wise. Learn from our mistakes so we don't fall into the same errors. Inspite of our imperfections, there is always greatness that resides in us. It is up to us to recognize that greatness and learn to set it free. Life is too short to waste and to wonder around in this world aimlessly. If you can find your goal in life, bless your soul, for you have served your existence well apart from the rest. Every day counts. If you waste time--that's it, it's gone; you've got only one shot. If you fall, pick up yourself, shrug it off, and move on. Live life to the fullest good.