Recently, I came across a short internet film of street artists performing live portrait drawing. The producer interviewed various artists and followed the progress of their work from start to finish. Most, worked incredibly quickly with deft and confident movements. It's fascinating to watch each development take place and how the artist considers the role of each mark before applying it to paper. These artists make it look easy but it requires techniques that are far from simple. A couple of swift and perfectly placed marks by a skilled artist can bring a drawing to life but it is based on a foundation of knowledge, concentration and practice. A great example of drawing can be seen in the works by one of my favourite impressionist artists, Henri de Toulouse- Lautrec. His works are full of energy and personality and it is obvious they have been created with a quick and confident hand. His works are not full of hesitant random marks but conjure up the image of a hand that has moved freely and unhindered across the page. Encountering this kind of work is inspiring but, thankfully, it doesn't stem from an innate talent. It originates from practice, observation, memory and of course a determination to improve. In my own practice, it means that I need to study the face in all it's detail, right down to muscle, bone and sinew. It means reading art books, studying other artist's works, drawing daily and not being afraid to fail. Sometimes, I feel like I'm too old to begin this journey and it's scary to fail but I do feel good when I draw. When I'm not judging myself or trying to achieve something beyond my skill, drawing is wonderful. I hope I can keep finding the motivation to continue this journey. Here are a couple of quick self-portrait studies:
This photo was taken after approximately 2 mins of drawing. I tried to work fast so as not to get caught up in any intricate details and I used a blunt charcoal pencil which meant I could't get too fussy anyway.
This drawing is not successful as it comes across as flat and two dimensional. The structure of the neck and face is out of proportion and the shading is too built up. Unlike the lips where a three-dimensional structure is beginning to form.
