The clothed figure | Check and log

Did you find it easy to approach the figure as a whole or were you distracted by details of the sitter’s dress?
I certainly put the main focus of my energy and concentration into the the folds of the clothes but I remained conscious of the figure as a whole and the need to ensure that clothes hugged the figure underneath to give form to the body. I feel I achieved this reasonably well.

I have drawn David several times before in different exercises for this part of the course and this helped to prepare me. Having said that, I didn’t do a great job of the hands, feet or head…

How did you create volume in the folds of the fabric?
I created volume through shape (depicting the folds and curves of the fabric) and tone (using white, and shades of grey through to nearly black). Dark tone for the inner folds, white for the top folds where the light bounces off.

Does the finished drawing give a sense of the figure beneath the fabric?
Yes, I feel my drawings do give a sense of the figure beneath.

How would you tackle a drawing like this again?
David, my sitter, looks a little stiff. If I was to do these drawings again I would encourage him to look down, slouch a little. I think I might also look at other artists work to see how they have posed their models. It’s a tall order to get some one to sit for you and invariably the people who help me out are not likely to be experienced, so I need to give them all the help I can to make them look and feel at ease.

This is a small but important point. I would check my putty rubber is clean and be aware that these can leave grubby, oily marks and residue, and spoil your picture (as happened with my second drawing).  I should really just use the putty rubber to create highlights and not to rub out complete parts of my drawing.


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