It's been a long time...
 

I took a portrait drawing class at the Boston Museum of Fine Arts - and this is the result. The first model quit after 2 sessions, so I don't have much to show for that one.

This is the second one, of Ariel. Fusain Nitram charcoal on Canson Ingres paper- in 4 2-hour sessions, using the Barque method of comparative drawing.

I enjoyed the whole thing immensely - I think I just may have to join the open studio sessions on Tuesday nights at the local art league. I just wish I could find something during the day!

Hi Cindy

What a lovely drawing - so fresh and characterful and wonderfully alive - I particularly love the way you have caught her mouth...

So envious of you working with this model too! She looks just my cup of tea, but perhaps a long way to come for me!!!

Beautiful.

All the best
Mary Jane

Hello Cindy,
very nice classical drawing. Thank you for sharing.
Ilaria

Cindy - that is absolutely lovely!

This is lovely, Cindy. You drew from what I find is the most difficult position, where the nose almost touches the cheek. Hard to get that western eye to turn properly and you did a wonderful job with it.

What is Fusain Nitram charcoal, and can you take a photo of a piece of it?

Oh good heavens! My beloved Alma Mater, NOT!

I cannot BELIEVE they ARE ACTUALLY having portrait classes. That was ALMOST beneath them when I was there. They preferred we play with sand and explore abstract shapes in charcoal.

Good start, watch the neck area, it seems a bit long. However a lovely job all in all!

You won't believe how this will advance your work in so many subtle ways.

I thought I could go it without this kind of work until I kept running back and forth to the museum to see how poorly my work compared to Sargent , Reynolds, Gainsborough, Sully, Stuart, Copley, Monet, Manet, the list goes on. It was humbling.

Good for you Cindy!

Hi Cindy-- great work! I especially like how you handled the hair and the mouth.

I'm curious how the class was run. . . were there class critiques of the works in progress, or was each on your own?

Thanks so much, Mary Jane. Yes - this model was a delight. I haven't had much experience with life drawing, so I don't have a basis for comparison, other than the model who left after only 2 sessions. He was like popcorn - bouncing up out of his chair, and even proceeded to walk around critiquing the students' renderings, and even taking up charcoal or an eraser to help strugglers along! I was appalled at his behavior, but the teacher seemed fairly oblivious to it.

Ariel, on the other hand, is a pro - she sat still as a rock, and gave us 5 and 1 minute warnings before she moved.

She is so tiny - so slight, and her shoulders so narrow that when I put them in they didn't look right.

Thanks Linda (and Ilaria & Kim!)

Here's a link to the charcoal:
Fusain Nitram

We were asked to buy this brand. It's very nice - lays down a much more expressive line than vine charcoal. I noticed a huge difference.

It's square so it's hard to sharpen. Costs a lot more, so when it snaps off during sharpening and falls into the trash barrel, expletives fly (under the breath, of course)! And it's dumpster diving time! LOL.

Thanks Sharon.

But I think that you're mistaking where I took the classes. This was not at the Museum School - but rather "Studio Art Classes" in the art studios on the third floor of the museum.

About that neck... I could have used another 4 or 5 sessions to finish this drawing. I didn't get a chance to model any of the neck muscles - which would have, I think, fixed the problem.

Why would you torture yourself so? LOL. Ignorance is bliss.

Thank you, my dear. ;)

Well. Hmmm. How the class was run? (Is this thread public?)

It was run fairly badly, in my opinion. We had to set up the room every week when we arrived, because the people who were paid to do it were always late. We had to break down tables, put up all the easels, the model stand, the lights, the backdrop, etc.

I really liked the woman who taught the class, as a person. She's incredibly sweet and personable. But, as a teacher, she left a bit to be desired. And, since I was the most "accomplished" student in the class, I was given short shrift when it came to personal attention.

There were no critiques, not even a group critique at the end. Instead, we watched a slide show of the teacher's Plein Aire classes in France. I guess she was hoping we'd all sign up.

The one thing I learned from the class was to slow down, and make deliberate choices. Then check and re-check, and fix what's wrong. Always assess your work at the beginning of each session, and address the most obvious problem first. Sounds so basic, so obvious, when I read what I just wrote, but that's it.

Cindy, from your comments, I see that you came away with much not just a well done drawing. I have seen a many a art students, dare not retrace their steps, in order to fix and learn from their mistakes, for the fear of not having enough time to finish and get a likable end result. We miss so much by hurrying through the process to get a likeness. I still catch my self making these same mistakes. Like you say check and re-check each step and the result will come. Good for you!

I love those charcoals! I purchased mine in Italy some time ago, three boxes B, HB & H for 130 Eur. Thanks for the link, I need to get some soon.

Nice job Cindy !
You certainly learned a lot from this class!
I too wanted to find an open studio during day time, and finally found one from 6:30 Pm to 9:30 PM. I was afraid to be too tired and not able to concentrate, but finally I' m always surprised when they say it's finished! I think I could paint some few more hours! The day after, I' m tired, but I'm completely addict. ( Well, we will see next winter if I'm enough addict to walk in the snow to go there...) The nice thing with open studio is that you decide your own goals ...

Mischa - thanks. By the way - I purchased my charcoal at a local art supply, and didn't need to know one iota of french in order to buy them. LOL

Marina - my difficulty does not lie in staying awake at night, but rather that I would not want to overly burden my husband (who is stepfather to my 3 children) with the babysitting/school night bedtime routine. But, maybe it'd be good for them, too, eh?

Thanks for your nice comments.

Dear Cindy,

You have done such a great job - so sensitive. Brava!

Grazie, Chris! :)

Thanks so much for sharing this with us Cindy. As I'm sure you know, this kind of work pays big dividends when it comes to personal improvement, personal artistic growth. I daresay you will find that drawing experiences like this help both your drawing and your painting. All of us need to slow down and pay more attention when we draw and never stop practicing basics.

Years ago, when I couldn't afford to hire models, I found people would sit for me if I gave them the finished drawing. Occasionally I was humiliated when the sitter declined the finished work.

I still can't get some people to sit for me in exchange for the drawing, but at least I can afford to pay models now.

Thanks again for sharing and posting. It was refreshing, informative and inspiring. I hope you share more wtih the rest of us.

Bill

Thanks, Bill, for your kind words.

I have definitely been inspired to go to open studio whenver I can. Certainly my family can get along without me for a couple of hours!

Hi Cindy,

The portrait is so soft and lovely. I really admire your charcoal work. :)

Donna