'The Cyclical Return'

Fineliner pen on Somerset paper 60 x 79cm

Tips for successful life drawing (part two)

Getting away with it – I typically find that great life drawing has elements that have not even been drawn and/or have been purposefully omitted. When drawing a model from life I personally strive to capture only enough to allow the mind of the viewer to fill in the blanks and complete the illusion. It is not always an easy balance to strike and I certainly have a tendency to over-define my subject if I am not thinking clearly! I find that this method works particularly well in and around areas of highlight where the details are commonly blown out by the intensity of light. As long as the relationships to the surrounding areas of tone are correct, then areas with little or no visible information tend to take care of themselves in the overall composition. I have previously talked of finding efficiencies and this is the perfect example of it. This approach is akin to a great story – not everything is explained and some things are left open to interpretation. Therefore, when drawing I strongly advocate leaving the viewer space to use their imagination. ‘Less is more’ as my old college tutor would say.

Above: 'Figure 16' 60min study by Rhys Eggleton. See more life drawings here

 

Above: 'Figure 17' 15min warm-up sketch by Rhys Eggleton. See more life drawings here

Seeing Red – for quickly observing how subtle areas of tone relate and interconnect, I occasionally look at the model or subject through a red filter. Doing so basically strips away the distraction of colour, so that the tonal values can be accurately assessed. Also, this is a really good way to ‘pull back’ and see the broader shapes within the subject if I feel that my drawing is stalling or if I am losing my way with small details. This is similar to the well known technique of squinting to simplify the perception of masses, but has the distinct advantage of better clarity. I previously purchased a filter designed for a standard 35mm SLR camera from a popular online auction service. It only cost me a few pounds and its compact size makes it ideal for the task:

Be bold – and by this I do not mean reckless (although recklessness can sometimes produce intense results so I don't want to outright discourage it!). In my experience I have found that preciousness inevitably leads to a stale lifeless drawing, which although technically proficient can be uninspiring to behold. This can be really discouraging if you have invested considerable time in its production. Take chances with the flow of lines and try above all else to translate the visual rhythm of the models contours into the flow of the drawing hand. It is a good thing to get as loose as the mood takes you, so long as you are mindful of the relationships of all the elements that make up the character of the sitters body. This point really boils down to capturing the 'essence' of the model - something almost intangible that comes alive in our human perception and in my opinion eclipses absolute accuracy.

Preliminary studies for next piece

With the new year comes new fortuitous situation for me; I no longer work a full-time day job and have afforded myself a dedicated block of studio time each week to focus on creating artwork. I am eager to start realising some of the ideas that until now have only existed in note form, scrawled on scraps of paper tucked inside my sketchbook. Essentially I will be continuing in a similar thematic and stylistic vein to "A Cause for Celebration". I have a lot of material planned, which should hopefully come together as a unified body of work further down the line. 

Alongside a series of thumbnail composition sketches, I have also been working on a couple of detailed studies over the past few weeks, trying to work out some technical kinks before I execute the first of my planned pieces. The first prep drawing is of a solitary magpie, which will play a central role in the narrative of the final work:

The second element will be a small collection of toy marbles:

I learned a lot from producing these sketchbook studies and I now feel confident that I can render the final piece to the standard that I envision. I just have rebuilt my still life shadow box, settled on the lighting and I am now massaging a few details of the composition. I plan to progress the piece over the coming weeks and will be sure to post an update or two along the way.

The RWA '161st Annual Open Exhibition'

It has been an mildly anxious couple of months of waiting since I applied to the Royal West of England Academy's renowned Annual Open Exhibition. Of some 2500+ artworks submitted this year, only around 500 were eventually chosen. So, I was naturally delighted to learn that my work had made it through the final selection process and would be hung at this prestigious event.

The exhibition opened this weekend with a bustling private view event and I was completely overcome by the shear amount of inspiring and diverse artwork that was on display. My piece is situated in the Methuen gallery:

So, for a second chance to see my latest work 'A Cause for Celebration' on display, be sure to plan a visit to the RWA before 24th January 2014. 

For more information: www.rwa.org.uk/whats-on/exhibitions/2013/11/161-annual-open-exhibition

'A Cause For Celebration'

Fineliner pen on Somerset paper 60 x 79cm

'In Living Colour' group exhibition

I am very excited to be included in the upcoming group show 'In Living Colour' that will be showing at the Grant Bradley Gallery in Bristol from 3rd - 31st August with the private view taking place on Friday 2nd August from 6pm. I am exhibiting a new large scale ink drawing entitled 'A Cause For Celebration'. The piece marks a departure from my previous work and stands as a precursor to a wider body of work that is currently in development. 

See the flyer below for details: 

 

www.livingcolourexhibition.tumblr.com

www.grantbradleygallery.co.uk

Tips for successful life drawing (part one)

I figured it would be a worthwhile exercise for me to explain some of the self-devised approaches to life drawing that have evolved in my subconscious over the years. I am aware that there is a rich abundance of tuition freely available on the internet regarding drawing methods and it is not my intention to repeat what has already been said so concisely before. What I want to outline instead is some of the insights that have surfaced in my experience and that continue to work for me. I cannot say if these approaches are right or wrong, but they may be of some help: 

Above: 'Figure 11' by Rhys Eggleton. See more life drawings here

Triangulate – whenever I need to accurately place an element in a drawing without an obvious nearby reference point, I visualise the points of a triangle to help me confidently place it.  This basically involves staring at the model and picking out two clear points that have already been drawn. I then superimpose an imaginary triangle that connects these two points to a third, which is the element I intend to add. I focus on the angles and proportions of the triangle and then translate the observation to my drawing by lightly marking where the third point of the triangle would fall.

Pull back – sometimes if what I am attempting to render is complex I tell myself to ‘pull back’. In doing this my concern shifts from the daunting task of depicting intricate detail to capturing the gestalt (the overall wholeness) of the subject. It is a way of zooming out and simplifying what I am observing. I make a conscious effort to avoid slipping into ‘tunnel vision’ which can occur when fixating on a small area for too long. This can lead to a massive disparity of quality within a drawing because other areas are usually neglected of attention or rushed as time runs out.

Shorthand – with the pressure of a timed pose efficiencies need to be found in order to have a resolved drawing at the end of the session. I commonly shade small areas to their approximately tonal value and then lightly indicate the boundaries of these respective areas which I can revisit and complete after the model has finished posing. It is like leaving a visual shorthand note for myself whenever I discover an area that does not necessarily require strict observation. This frees up precious time for me to focus on the more essential elements that add gravity to the piece, such as; the gesture, the features etc.