Final drawing 3

This final still life piece was done in soft pastel, in an hour. The arrangement was done so that the eye sight follows an implied line, which is aided by the drapery, from the main focal point in the area of the brushes to the oil paint tubes. The overlapping of the objects, as well as the presence of lighter and darker areas create the illusion of depth. The tints of the drapery or the shades on the wall also help to create a contrasting effect. The method employed for the colours is a burnishing one, a realistic effect was achieved for the most part though there are several areas that could be improved even more.

Final drawing 2

This final landscape piece was done in soft pastel, in about 40 minutes. Combining colours to create a realistic effect was the main ideal and can be seen for the most part, especially in the case of the bridge that is roughly rendered and could have been drawn better, since the upper lines are ambiguous. As a whole, the landscape is sensitively rendered.

Final drawing 1

The final anatomy piece done in soft pastel in 20 minutes shows the model in a static pose, slightly resting his head and using his arms to keep balance. In its rendered posture one can see how weight is distributed, and that I believe would be because of the distance between the legs. The anatomy is mostly accurate though that might be in question as far as the head and the left arm are concerned. As far as colour is concerned, the burnishing method used for portraying the musculature seemed to work mainly, but the result might be too contrasting and for that reason the colours probably could have been blended more.

Week 12: Natural Landscapes in colour

This soft pastel drawing, finished in 10 minutes, was done in the excursion to Todmorden. The approach to colour seems to be impressionistic but at the same time appropiate for balancing the chromatics and the light sources of the drawing. In this composition depth is shown through the use of tones or tints of colours, that are applied through a burnishing method, layer on top of a layer.
On the down side, the landscape drawing looks far from finished and could be easily improved by use of more colour and by paying attention to detail.

Week 11: Colour in landscape at Centenery Square

This week's session we went to Centenary Square. These drawings were done in soft pastels in about 20 minutes each, and their single merit is how explicit they are in what they're supposed to represent.

More to the point, there are a number of  aspects that could have been improved, such as the use of more colours applied in layers that would have helped the overall result of both images. More cross-hatching in the case of the first pastel composition or more burnishing in the case of the latter would have made them both seem more realistic.