March 2015 Sketches

Parsley
5 March 2015
Graphite Pencil
Daler Rowney A6 Graduate Sketchbook
14.9cm x 10.5cm (5.9" x 4.1")

I am a quarter of the way through the challenge to draw on every day in 2015. Time flies when you are having fun.

Wooden Flower
2 March 2015
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
21.0cm x 29.7cm (8.25" x 11.75")

I am getting better at not spending too much time deciding what to draw. I try to choose subjects that have some relevance to what I've done during the day. If nothing comes to mind, I just pick something.

Peace Lily Leaf
27 March 2015
Graphite Pencil
Daler Rowney A6 Graduate Sketchbook
10.5cm x 14.9cm (4.1" x 5.9")

Leaves are one of my favourite subjects. You get all the enjoyment of detailed observation and modelling without having to go overboard with highly accurate measurements.

Ironing - Honey I'm Home
30 March 2015
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
29.7cm x 21.0cm (11.75" x 8.25")

This month I've realised the importance of fixative. When I am at home, I usually spray each drawing as soon as it is finished. Unfortunately, I didn't pack any fixative for my recent trip to Chicago. On a number of days I spoilt the previous day’s drawing by rubbing my hand through it as I drew or shaded.

Water Spray
4 March 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
149mm x 210mm (5.9" x 8.3")

January 2015 Sketches

A Special Dog Walking Bag
29 January 2015
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
29.7cm x 21.0cm (11.75" x 8.25")

So far, I have stuck with the plan to draw on every day in 2015. There are too many artists to ignore that identify drawing each day as being the key to improving.

Plug It In
1 January 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
210mm x 149mm (8.3" x 5.9")

I've continued with the focus on accuracy from last month (see December Sketches), but I've started to reintroduce modelling into the drawings.

Kirsty Elson Driftwood House
20 January 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
210mm x 149mm (8.3" x 5.9")

Marc Taro Holmes (Citizen Sketcher) recommends 0.7 mm propelling pencils as his graphite drawing tool of choice. He prefers them to normal pencils because they eliminate the mess and hassle of sharpening. I have been using 3 mm mechanical pencils with 3B and 6B leads. They are versatile, but they still need sharpening and are probably messier than conventional pencils. So, I've switched to a 0.7 mm propelling pencil and I love it. The 0.7 mm leads are much sturdier than the normal 0.5 mm leads - I haven't had one break yet. The pencil came loaded with HB leads which are bit hard and pale, but I have some B leads which I am looking forward to trying.

Mestle and Portar
10 January 2015
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
210mm x 149mm (8.3" x 5.9")

It is great to find things that work for you. This month I've also switched from case bound sketch books to wire bound sketch books. Richard E. Scott (Sketching From Square One) recommends them because they are easier to keep open and lay flat.

Mike Lythgoe Mackerel
28 January 2015
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
29.7cm x 21.0cm (11.75" x 8.25")

The two sculptures are both presents from Elaine. The driftwood house is by Kirsty Elson and the shoal of mackerel is by Mike Lythgoe.

November Sketches

Holly Branch
24 November 2014
Gouache on Paper
12cm x 18cm (5" x 7")

November has been a productive month for sketching. I've already posted some of the sketches (see Portland and the Chesil Beach and Practicing Linear Perspective) and there were more to select from for this post.

Holly Leaves
17 November 2014
Watercolour on Paper
18cm x 12cm (7" x 5")

Elaine’s friend Nicola kindly gave us some holly and this has been the subject for many of the drawings. Holly leaves are challenging; their gnarled spiky shapes are difficult to model convincingly. I've wanted to draw some more since I sketched some in September (see September Sketches).

Young Holly Leaf
27 November 2014
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
210mm x 149mm (8.3" x 5.9")

The younger leaves make easier subjects. The twisted spiky side of their personality seems to be something that develops as they get older.

Bananas
13 November 2014
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
29.7cm x 21.0cm (11.75" x 8.25")

The picture at the top of the post is another go at Nathan Fowkes Poor Man's Impressionism - which I experimented with in October (see October Sketches). This time I used gouache instead of watercolour.

Sweatshirt and Chair
12 November 2014
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
21.0cm x 29.7cm (8.25" x 11.75")

The sweatshirt and chair are a favourite subject. They are the same sweatshirt and chair I drew for Exercise 6E from Keys to Drawing (see Keys to Drawing - Chapter 6). Until recently, I tried to avoid drawing the same subject twice. I now realise it is unavoidable, enjoyable and good practice to make multiple studies of the same subject. It is Elaine's sweatshirt. I  think I drew it first about 5 years ago - I wonder if Elaine realises how old it is?

September Sketches

Conker on the Half Shell
14 September 2014
Watercolour on Paper
18cm x 12cm (7" x 5")

This month I have been mostly sketching things I've picked up while out walking.

Papier Pig
24 September 2014
Graphite Pencil
Winsor & Newton A4 Heavy Weight Sketch Book
21.0cm x 29.7cm (8.25" x 11.75")

This pig is one of the few exceptions. It is one of four papier-mâché pigs made and given to Elaine by our neighbour Jeff’s sons.

Very Small Pine Cone
17 September 2014
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
210mm x 149mm (8.3" x 5.9")

Going for a walk and collecting something to sketch is a good way to end the working day with some fresh air and a bit of exercise

Dried Grass
18 September 2014
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
149mm x 210 (5.9" x 8.3")

These small detailed studies are absorbing and good practice.

Holly
21 September 2014
Graphite Pencil
Daler Rowney A5 Graduate Sketchbook
210mm x 149mm (8.3" x 5.9")

Sketching the holly has helped me to realise the need to revisit the basic modelling technique from the Natural Way to Draw (see Modelled Drawing). The sketch does not reveal the full curving shape of the leaves. It would help if my shading was more directional and if I increased and decreased the pressure of the shading to show curvature. This is something I will think about over the next few weeks.

Keys to Drawing - Chapter 8

Keys to Drawing - Exercise 8A
6 March 2014
Charcoal on Paper
39cm x 55cm (15.5" x 21.5")

Chapter 8 of Bert Dodson‘s Keys to Drawing is called Drawing and Imagination. It is the last chapter in the book and Bert picks up some of the topics he has touched on in previous chapters. The main theme is creativity and he offers suggestions on how you can kick-start your imagination.

The chapter does not have the same set of structured exercises as the other chapters. The project for chapter 8 is to explore a theme in six drawings. Bert says:

"Make lots of drawings over a period of time on a particular subject or a particular approach to a subject. Paradoxically, when you narrow your focus this way, you widen the potential for discovery."

He suggests six possible themes, but offers the option of creating your own. I’ve elected to draw 6 charcoal portraits of Elaine.

I’ve chosen to draw portraits of Elaine because of the challenge of drawing faces and because Dodson emphasises the importance of revealing something of your self in your drawings. I suspect that for many people a drawing of a loved one will be more intimate and revealing than a self-portrait.

The picture at the top of the post is the first drawing of the six. It took about four hours spread over four evenings. I am planning to draw the rest over the next six months and I will post them as they are finished.

Keys to Drawing – Chapter 6

Keys to Drawing - Exercise 6F
60 Minutes
16 January 2014
Graphite Pencil on Paper
21.5cm x 39.5cm (8.5" x 15.5")

Christmas, the New Year and working away from home have hindered my progress, but finally I’ve finished Chapter 6 of Keys to Drawing by Bert Dodson.

Chapter 6 concerns The Illusion of Texture. It begins with some general guidelines for drawing texture and then provides more detailed advice for a few familiar surfaces:

• Hair
• Foliage
• Drapery
• Reflective surfaces

One of the main themes is articulate and suggest – combine areas of carefully rendered texture (articulate) with areas in which texture is depicted in a more stylised way (suggest).

Dodson recommends the best way to draw texture is to start by articulating it until you develop a technique for describing the surface, which you then use in a more abstract way in the areas of suggestion. He calls this concept “sensing the stroke” and suggests you imagine feeling the texture of the object with your pencil. This is the same as the imaginary touch used in contour drawing and modelling in The Natural Way to Draw by Kimon Nicoladides

There are 6 exercises.

6A - Contrasting Textures. My drawing contains the contrasting textures of the skin, stone and flesh of an avocado.

Keys to Drawing - Exercise 6A
90 Minutes
26 November 2013
Graphite Pencil on Paper
38cm x 21.5cm (15" x 8.5")

6B - Unifying With Texture. The little crosses are derived from the texture of the weave in the baskets on the windowsill - they don’t really work as a unifying device. Most of the unifying with texture examples in the book use a more scribbled mark. I should have used a similar approach. This is another exercise that is supposed to be drawn outside, but I drew it inside because of the weather and limited hours of daylight.

Keys to Drawing - Exercise 6B
60 Minutes
2 January 2014
Ink on Paper
30.5cm x 23cm (12.5" x 9")

6C – Hair. Sometime I wonder why Elaine poses for me. I was pleased the hair came out quite well, but Elaine was less thrilled with the extra weight and years the picture gives her.

Keys to Drawing - Exercise 6C
30 Minutes
3 January 2014
Graphite Pencil on Paper
28cm x 30.5cm (11" x 12")

6D – Foliage. I finally braved the weather. This strangely shaped conifer is the only thing in our garden with much foliage. It gave me a chance to try some fingerless gloves, which Elaine gave me as a Christmas present. They worked well, but the rest of me ended up frozen by the end of the exercise.

Keys to Drawing - Exercise 6D
45 Minutes
14 January 2014
Graphite Pencil on Paper
24cm x 37cm (9.5" x 14.5")

6E – Drapery. I focused too much on the light and shade on the folds in the cloth. I should have put some description of texture into the large white area. The only white in the picture should be the highlights on the top of the folds.

Keys to Drawing - Exercise 6E
60 Minutes
15 January 2014
Graphite Pencil on Paper
21.5cm x 35.5cm (8.5" x 14")

6F - Reflective Surface. Why did I choose a spoon? I considered drawing a metal serving bowl, but rejected it as being too complicated and then I picked a spoon. Where is the logic in that?

The time limit for exercises 6C, D, E and F had an unexpected result. I started each of the exercises by following the instruction to map out the areas of light, shade and different directions in the texture. In each exercise, I abandoned the mapping because it was taking too long and there was a danger of running out of time before drawing any texture. The experience of rendering the texture without a completed map is similar to the experience of modelling from the Natural Way to Draw. The results are more spontaneous and less thought out than in some of my drawings.

Keys to Drawing – Chapter 4

Keys to Drawing - Exercise 4E
60 Minutes
19 September 2013
Graphite Pencil on Paper
33cm x 20.5cm (13" x 9")

Chapter 4 of Keys to Drawing is called “The Illusion of Light”. It is primarily about using light and shadow to model an object.

The goal is to draw an object that appears 3-dimensional and solid. This is the same as the objective for modelled drawings in The Natural Way to Draw (see The Last Post for an example). The intention is the same, but there is a major difference between the approaches:

• In Keys to Drawing, Bert Dodson emphasises the accurate observation of light and shadow
• In the Natural Way to Draw, Kimon Nicolaides uses an imagined physical contact with the subject as the basis for modelling (see Modelled Drawing)

Keys to Drawing - Exercise 4A
15 Minutes
2 September 2013
Graphite Pencil on Paper
29cm x 38cm (11.5" x 15")

In Chapter 4, Bert Dodson explains the basic logic of light and shadow:

When light shines on an object, it creates a light side, a shadow side and a cast shadow. Often there is a lighter area on the shadow side caused by reflected light.

He also introduces the strategy of Mapping:

Draw the areas of light and shadow on the subject as though they are territories on a map

Dodson suggests initially drawing the shapes with clearly defined edges and then to soften the boundaries with less distinct edges as you refine the drawing.

Keys to Drawing - Exercise 4B
60 Minutes
4 September 2013
Graphite Pencil on Paper
39cm x 29cm (15.5" x 11.5")

The chapter is the usual well-balanced mix of text and exercises. As well as explaining the basic drawing techniques, it also includes advice about using light and shadow to create mood and interest in a picture.

Keys to Drawing - Exercise 4C
60 Minutes
9 September 2013
Graphite Pencil on Paper
29cm x 38cm (11.5" x 15")

There are 6 exercises:

• 4A - mapping drawings
• 4B - light and form
• 4C - head in strong lighting
• 4D - light and mood
• 4E - cast shadow
• 4F - merging shadows

Keys to Drawing - Exercise 4F
60 Minutes
26 September 2013
Graphite Pencil on Paper
27cm x 37cm (10.5" x 14.5")

I struggled with the exercises when I first tried them in 2009, but this time they were much more enjoyable. In exercises 4C and 4F I deliberately sacrificed accurate proportions and drawing a likeness to give myself more time to focus on the modelling.

Keys to Drawing - Exercise 4B 2009
28 October 2009
Graphite Pencil on Paper
17cm x 18cm (7.5" x 7")

There is no picture for exercise 4D. Dodson suggests this is more of a long-term project. It involves drawing (or painting) the same landscape in three distinctly different lighting conditions. I am planning to have a go at this in the next few weeks.

The Last Post?

Sustained Study - Clothed - Section 25 - Modelled Drawing
24 May 2013
Oil Colour on Paper
42cm x 59.5cm (16.5" x 23.5")

It's done. On Wednesday, I finished the last exercise from the Natural Way to Draw.

Thank you to everyone who has posed for me and a massive thank you to Elaine for taking most of the burden. Her effort and perseverance have far exceeded mine. I couldn’t have completed the book without her help and support. I am sorry some of the drawings have been less than flattering.

Thank you to everyone who has visited the blog and commented on the posts. Blogging has been an important part of the learning process. It has helped me to think deeply about the exercises and to assimilate the lessons.

At this point, I should ask the questions: Has the effort been worthwhile? Am I pleased with what I have learnt?

The answer to both questions is yes. In the original post (see The Natural Way To Draw) I said the reason for following the Natural Way to Draw was that I wanted to develop a more spontaneous and confident drawing style. This has happened. My whole approach to drawing has changed.

There are aspects of technique that I want to work on and improve, but these are much clearer than they were when I started the course.

An unexpected benefit is the book has taught me to look at art in a new way. It has helped me to appreciate and enjoy it more.

So what comes next? I have some ideas, but the first thing is to take a few weeks off.

I am going to continue with the daily composition exercise (see The Daily Composition Revisited) and do some sketching, but this will not involve any posing by Elaine.

I am taking a break from blogging and will be back in a few weeks.

Recent Exercises in Oil and the Subjective Study

Relaxing On One Arm - Gesture Drawing
23 March 2013
Oil Colour on Paper
28cm x 24cm (11" x 9.5")

I am enjoying the exercises in oil from the Natural Way to Draw (see More Exercises in Oil).

Facing Away - Gesture Drawing
23 March 2013
Oil Colour on Paper
28cm x 32cm (11" x 12.5")

The bristle brushes I bought for the exercises have started to wear out. They are looking scruffy and will no longer form a straight edge. This has forced me to loosen up and to stop trying to draw neat and precise lines - which has improved the drawings.

Leaning on a Chair - Half-hour Study
10 March 2013
Oil Colour on Paper
33cm x 33cm (13" x 13")

The half hour study is one of my favourite exercises. You can get a lot done with oil paints in half an hour. At the end, I am usually aware of some fundamental structural problem with the drawing, but the results are interesting and characterful.

Sustained Study - Section 23 - Modelled Drawing
13 March 2013
Oil Colour on Paper
53cm x 25.5cm (21" x 10")

The modelled drawing in oil is a continuing challenge. The studies tend to start well, but by the end, there is always too much paint on the paper. At times, I still struggle with the basics of modelling with white and imagining a single light source, but this is getting easier.

Section 24 introduces the Subjective Study. It is a bit like a word association test. You look at the model and then draw the first thing that comes into your head. You look at the model again, look at the drawing and then draw something else. You can also explore further. If you look at the subject and you think of a fish, rather than draw the fish, you try to abstract (and draw) the quality (gesture) that made you think of a fish.

The objective of the exercise is to more actively involve the subconscious mind and to see and represent the model “in a manner more personally truthful” than in the other exercises.

Subjective Study - Section 23
29 March 2013
Pastel and Graphite Pencil on Paper
42cm x 59.5cm (16.5" x 23.5")

Elaine and Felix (the cat) relaxing on the sofa were the inspiration for this study. I’ve no idea whether a subjective study is supposed to look like this, but I suspect there is no right and wrong. I probably became too bogged down in the beach theme. It would have been interesting to explore what was common in Elaine and Felix’s postures, but that was not what came to mind during the exercise.

More Exercises in Oil

Curled Up - Half-hour Study
2 February 2013
Oil Colour on Paper
59cm x 31cm (23.25" x 12.25")

The first exercises in oil were a challenge (see Exercises in Black and White Oil Color), but now I am beginning to understand the attraction of oil paints.

I started to enjoy the exercises once I embraced the medium and stopped trying to use the brush like a pencil. This is the same lesson I had to learn for gesture drawing with the Conté crayons (see More Gestures in Black and White).

Standing Hamstring Stretch - Gesture Drawing
2 February 2013
Oil Colour on Paper
14cm x 36cm (5.5" x 14")

The studies from the original post were drawn with the quarter inch brush. Now, I am making more use of the three quarter inch brush, particularly in the shorter studies. Instead of trying to scribble (which is difficult with the limited amount of paint in the bristle brushes), I am using the three quarter inch brush to make gestural marks.


Sustained Study - Section 22 - Modelled Drawing
7 February 2013
Oil Colour on Paper
27.5cm x 51cm (10.75" x 20")

The modelled drawing is both difficult and enjoyable. The instructions are to model in the same way as with the Conté crayons - apply less pressure with the black crayon when a surface in the dark turns towards the light and less pressure with the white crayon when a surface in the light turns away from the light. This works well with the crayons. With paint, there is a tendency for it to build up during the exercise and for some of the subtlety in the initial modelling to be lost. I am not too concerned about this because Kimon Nicolaides' advice is not to worry about overworking the modelling exercises. The purpose of the exercises is to experience the sensation of modelling as though you have touched every part of the form - not to create pretty oil paintings.

The Head in Crayon

Head in Crayon - Section 20
4 December 2012
Conté Crayon on Paper
32cm x 41cm (12.5" x 16")

This isn’t a belated Halloween post and no, I am not recruiting the undead to pose for drawings.

This is my latest attempt at the Head in Crayon exercise from the Natural Way to Draw. The exercise uses the same tools and modelling techniques as the sustained study in crayon (see Sustained Study in Crayon and Try and Try Again), but does not include the preliminary gesture and contour studies.

The objective is to model the complexities of the human face, which is a challenge because you only have an hour. I focus on trying to create the impression of a three dimensional object and don’t bother too much about the accurate measurement and alignment of the features – which is my excuse for why the eyes are too close together.

I have a bit of a mental block about modelling with the white crayon, so I’ve struck a deal (with myself) that allows me to minimise the amount of white crayon in the sustained studies as long as I use it extensively in the head in crayon studies.

Christmas Cards 2012

Wendy Hedges has made Christmas cards from some of my paintings. They look stunning and really demonstrate how the right mount and frame can complete a picture. Thanks Wendy.

Lighten Up

Sustained Study in Crayon 3 - Modelled Drawing
29 October 2012
Conté Crayon on Paper
33cm x 37cm (13" x 14.5")

This is my third sustained study in crayon. The first two studies are on Sustained Study in Crayon and Try and Try Again.

In this study (and the previous one), I spent too much time trying to make an accurately proportioned drawing – I sacrificed my initial reaction to the gesture of the pose to try to obtain accuracy and in the end didn’t achieve either. The result looks stiff and lacks emotional involvement.

I start another study this week and this time I am going to focus on keeping the gesture of the pose. I will try to make the drawing accurate, but this will be of secondary importance. I’m also going to make more use of the white crayon.

I feel guilty about posting this study. Elaine posed for it, but it is an inaccurate and unflattering representation.

Try and Try Again

Sustained Study in Crayon 2 - Modelled Drawing
17 September 2012
Conté Crayon on Paper
46cm x 18cm (18" x 7")

The first sustained study in crayon (see Sustained Study in Crayon) lulled me into a false sense of security. I thought I had made a break through and the rest of the Natural Way to Draw was going to be easy - Silly rabbit.

The second sustained study in crayon started badly. I couldn’t get the relative measurements right in the extended gesture study. Elaine ended up with a pinhead and a strange elongated body.

At the start of the contour study, I made some adjustments, but by the end, the proportions were even worse.

I had to start the modelled study, by making more adjustments. I couldn’t get Elaine’s proportions right, but eventually got them close enough to make the modelling exercise worthwhile. There are still some major inconsistencies, but I quite like the result. It has a quirky charm.

The challenge of drawing this relatively simple pose has forced me to think about techniques for checking the body is in proportion and the various parts are correctly aligned. The Natural Way to Draw describes one system and Classic Human Anatomy by Valerie L. Winslow describes a number of others methods. One thing most of them have in common is they use a body part (normally the head) as a unit of measure.

These techniques are useful when drawing figures from memory or imagination such as in the Daily Composition or The Long Composition. They are also helpful as a reference when drawing from life. You know which parts of the body should be about the same size and you can check their actual sizes using the classic pencil in outstretched arm pose.

Sustained Study in Crayon

Sustained Study 5 (Clothed) - Modelled Drawing
18 August 2012
Conté Crayon on Paper
53cm x 27cm (21" x 10.5")

Section 17 of the Natural Way to Draw introduces exercises using black and white Conté crayons.

The Sustained Study in Crayon is a variation on the original Sustained Study exercise (see Section 13 and Sustained Study 3).

The instructions for the first two studies (the extended gesture study and the contour study) are the same as in the original exercise. The extended gesture study is drawn in pencil on paper. The contour study is drawn in pencil on tracing paper laid over the gesture study.

The modelled study is different. In the original sustained study, the modelled study is drawn in pencil on tracing paper laid over the contour study. In this exercise, the contour drawing is transferred to some cheap grey construction paper using the time-honoured technique of scribbling on the back of the tracing paper, laying it on the grey paper and drawing over the lines. The modelling is done in black and white.

The modelling technique is the same as in previous studies except the light areas are modelled in white and the dark areas modelled in black.

Sustained Study 5 (Nude) - Modelled Drawing
12 August 2012
Conté Crayon on Paper
53cm x 27cm (21" x 10.5")

The Conté crayons are great for modelling, but there is a danger the results are too pretty. On a couple of occasions, I found myself trying to create an attractive drawing. I had to remind myself that these are exercises. The objective is to focus on the model not the drawing and to imagine touching every part of the form. If the resulting drawing looks presentable, it is a bonus; it is not the goal of the exercise.

Sustained Study 3

Sustained Study 3 (Clothed) - Contour Drawing
30 June 2012
Graphite Pencil on Tracing Paper
57cm x 25.5cm (22.5" x 10")

The sustained study is an extended gesture drawing, a contour drawing and a modelled drawing of the same pose. The contour drawing is drawn on tracing paper laid over the extended gesture drawing and the modelled drawing is drawn on tracing paper laid over the contour drawing (see Section 13).

Sections 14 and 15 contain a nude and a clothed study of the same pose.

One of the biggest challenges is to find a pose that Elaine can hold for 18 25-minute sessions. If you are not allowed to move, even the most seemingly comfortable position becomes torture. After about 15 minutes in this pose, Elaine would lose all felling in her right arm. To remedy this I tried to let her know when I was focusing on her feet and legs so she could move her head and arm and shake some life back into them.

Sustained Study 3 (Clothed) - Modelled Drawing
21 July 2012
Graphite Pencil on Tracing Paper
57cm x 25.5cm (22.5" x 10")

Recreating a pose at the start of each session can also be tricky. Relatively minor changes in Elaine’s or my position can dramatically alter my view. Sometimes it is difficult to determine whether I’m in a different position, Elaine is in a different position or if just one of her limbs has shifted slightly. It can be like solving a particularly tricky spatial awareness puzzle.


Sustained Study 3 - Extended Gesture Drawing
25 June 2012
Graphite Pencil on Tracing Paper
57cm x 25.5cm (22.5" x 10")


I am extremely grateful to Elaine for all the time she spends in these poses and for allowing me to post the results.