Creative License

I've posted 2 drawings of the same model from the same pose. Both were demos from my class at DuCret School of Art in Plainfield New Jersey. I use the term "Demo" loosely, I didn't stop the class to do the demo, I often times do these in one on one instruction from the model. I try to find what that particular student needs to see at that moment and just go with it. Sometimes that means doing a little demo, other times it will mean a walk to the library to look at some work by other artists that illustrate the concept we are discussing.

The model who posed for the class the day I did these sketches reminded me of characters I've seen in Western movies. Something about his facial structure and the mustache put me in that mindset. One drawing shows our model Jim pretty much as he appears, the other is Jim reimagined as a character from a western. 

 I used "artistic license" to change just a bit of what I was seeing to convey a narrative element. 

Individual Expression

 My favorite drawings have an interplay of line and tone.

When I think of draftsman that I admire there is that common thread of tonal passages balanced or supported by contour line in their work.

The list is long and varied, Michelangelo, Leonardo DaVinci, Rubens, Rembrandt, Ingres and Sargent to name a few.

The list also includes contemporary fine artists, illustrators and comic book artists.

Their work is easily recognizable and displays talent, vision and individual tendencies.

I am an advocate of building a skill set to enable an artist to create images that aren't hampered by poor handling.

There are times that extensive training in one approach, one way of seeing things becomes a hinderence to personal expression in an artist's work. The method and technique become the subject and content of the work and while the results can be visually impressive it becomes difficult to distinguish one person's work from another.

The art world is rich with diversity, individual expression and interpretation, if we were all playing the same tune it would be a pretty boring concert.

I think it is important to hone your craft but it is of equal importance to know what your natural traits and tendencies are and retain some evidence if individuality in your work, don't give it up so easily it may be difficult to find again. 

Habit is Stronger than Will

Irwin Greenberg (Greeny), one of my teachers at the High School of Art and Design used to say that "Habit is Stronger than Will". He urged us to develop a habit of drawing or painting each day regardless of what other things we had to do. Greeny would stress the importance of putting our time in to advance our artistic growth. We get in the habit of other daily rituals for the sake of our physical, spiritual and financial well being and as artists we should have a "habit" for our creative well being. It doesn't have to be grand or time consuming, it could be a sketch or some thumbnail concept sketches, a small watercolor or oil study.

Over 30 years have passed since I was in a class and heard that bit of advice from Greeny. Sometimes it takes maturity to understand how meaningful and life changing a few words of advice can be.

If we only work on our art when we have the "will" to do it, our output and growth as artists will be tied to the strength of our "will", if we make art one of our habits we will see a direct correlation in our work.

Working From Large To Small

When I draw the figure from life I generally work from large shapes to smaller shapes. I might start with a gestural block-in for placement and proceed to loosely and lightly lay-in tone to indicate the largest masses. I don't spend too much time on the outer edge of the form because I know the pose will change a bit from one sitting to the next and even the best models move a bit during the pose. I tend to resolve an area in a form of drawing shorthand that allows me to recall the pose and the lighting even without the model there.
Beginning with the pattern of light and shadow is the key. I often see students making an infinite number of measurements and missing a sense of the whole form and underlying structure. There is also a tendency to place hash marks for the eyes, nose, crease of the lips, ears etc. at predetermined generalized distances, I call it the football head approach because at some point the drawing looks like a football. The oval shape, the center line and hash marks. I'm not a fan of the football life drawing game, it prevents real observation.
When you work your way to placement of the features, see the structure and simplify it. Think sculpturally about form.