Details of the Mannikin Frame

Details of the Mannikin Frame
Copied from Figure Drawing for All It's Worth
Graphite Pencil on Paper

I've spent the last the three weeks away from home - working near Chicago. Last weekend, I took the opportunity to take another look at the mannikin frame from Andrew Loomis’ Figure Drawing for All It's Worth (see The Mannikin Frame - Part One and Movement in the Mannikin Frame)

On the third page of mannikin frame drawings, Loomis adds more refinement to the frame – the whole figure appears more solid and realistic.

I struggled with the hips and the egg of the chest, but I am sure I these will get better with practice and that is what comes next.

The View From Porlock Weir

From Porlock Weir - Version 1
Mixed Media on Paper
27cm x 19cm (10.5" x 7.5")

Porlock Weir is a small village and harbour on the North Somerset coast. I visited it for the first time last November - the day before my sketching trip to Dorset (see Portland and the Chesil Beach). Elaine spent the weekend learning about upholstery techniques and I was left to entertain myself.

These pictures are of the view from Porlock Weir across Porlock Bay to Hurlstone Point and Bossington Hill.

I am continuing to experiment with the ideas from Ann Blockley's books and DVDs, but in these paintings I was also trying to channel some elements of Stewart Edmondson's style.

From Porlock Weir - Version 2
Mixed Media on Paper
27cm x 16.5cm (10.5" x 6.5")

When I am messing around with techniques, I tend to work on two (or more) versions of a subject at the same time. This gives me a backup in case one of the experiments goes badly wrong and also allows me to explore variations on the theme.

By the time they are finished, I usually have a definite favourite, but there are always good bits in both versions that I would like to combine.

In this case, I prefer the version at the top of the post but there are some good elements in the second version. The gouache sea was a mistake, but I like the patch of sunlight on the right of the hillside.

February 2015 Sketches

Ragdale Vase
13 February 2015
Graphite Pencil
Daler Rowney A6 Graduate Sketchbook
10.5cm x 14.9cm (4.1" x 5.9")

I am keeping up with the challenge to draw on every day in 2015. So far I've drawn on 59 consecutive days.

Kettle
17 & 18 February 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
149mm x 210mm (5.9" x 8.3")

I haven’t clearly defined how much drawing I have to do each day. Theoretically, I would probably let myself off with a couple of minutes of scribbling, but so far it hasn't come to that. On a couple of occasions I have not been inspired to draw, but I've quickly become engrossed in the subject and gone on to draw for 20 minutes or more.

New Lilies
26 February 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
149mm x 210mm (5.9" x 8.3")

The drawings on this post took varying amounts of time. The kettle must've taken at least an hour and a half over two days, but the lilies took barely 20 minutes.

Hamish
27 February 2015
Graphite Pencil
Daler Rowney A6 Graduate Sketchbook
14.9cm x 10.5cm (5.9" x 4.1")

The drawing of Hamish only took a couple of minutes. It was part of a session of hurried sketches during which Hamish moved every time he caught me looking at him. Dogs don’t seem to like being drawn. Even when they are asleep they quickly sense you are staring at them and then start fidgeting. He was tired after a long walk, but not so tired he was going to let anyone create unlicensed images of him.

The Subtlest of the Flavours
9 February 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
149mm x 210mm (5.9" x 8.3")

Drawing every day means repeating subjects I've drawn before – the kettle has appeared on a previous post (see Starting to Sketch) – this month I've redrawn most of the subjects on that post. I'm looking forward to the weather improving, so it is more comfortable to draw outdoors.