A Longer Time To See Better

Lilibeth Andre, Sketch LA5997, Conté on paper

Lilibeth Andre, Sketch LA5997, Conté on paper, 18 x 24.

Because I enjoy working with natural light, with more daylight, I get revved to do more in the evenings so I am more excited about getting creative longer.

This week’s favorite sketches were done for longer poses. This worked out great because it gave me the opportunity to detail the sketch more than I usually do. I had more time to look at anatomy, scale and shadows.

My typical challenge is to work on seeing fast and communicating what I see through the hand and on to the paper, canvas or whatever support I am using. With a typical 20-minute pose I have to learn to look quickly and thoroughly but at the same time, interpret the visual and communicate this information as succinctly as possible to the manipulation of the medium in order to produce an image that, in my case, represents the figure I am looking at.

Lilibeth Andre, Sketch LA6001, Conté on paper

Lilibeth Andre, Sketch LA6001, Conté on paper, 24 x 18.

Mastery of the tools is extremely helpful because knowing the capabilities of the work tools heightens performance time. It removes dilley-dalley time tinkering with the tools instead of sketching, which is what I’m supposed to be doing. It removes operational distractions. It allows me to perform more like a well oiled machine, like a prima ballerina, and that is a good feeling.

So if I know what I’m doing, what I’m doing it with, and how to do it (more on this in a future posting), then having more time to just sketch a single pose is quite an enjoyable experience. In this case, I look at things I don’t get to focus on as much in shorter sessions. I have more time to look at the model and notice greater detail that I include in my sketch. I have a longer time to see better.

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