Figure Sketch Last Week

Here's a few from the Unison sketch class

Ecorche Class and the Hyoid Bone

In the Ecorche class at the Woodstock School of Art we are presently fleshing out the head and neck, and last week class I lectured on the Hyoid bone and it's role as an anchpr for muscle and the role of the Laryngeal cartilage of the Cricoid as armor for the glottis.

Weekly Figure Sketch

More from this past week
I've elongated the limbs on this model, perhaps a bit too much... but I think it enhances a sense of lankiness..

More from Sketch Class

Here's a few from Tuesdays open sketch

Figure Drawings

Figure Drawings from Life

More Sketch Class Nudes

Here's a few from last weeks Unison sketch classes..

Subway Sketcher Revisted

More musings from the Subway Sketcher. These are all graphite drawings, executed with 2B leads in a retractable Koh-I-Noor lead holder- my trusty drawing tool. Along with my sketchbook, they are always with me.

Subway Sketcher is Watching

The very act of Subway Sketching is like a meditation. After a while the Sketcher detaches from the physical presence, and moves closer to being the Observer. In a sense they become a Channel , a remote witness- perceiving the universal character of humanity as expressed incrementally through the people he or she draws.

The Subway Sketcher Rules!

When the Subway Sketcher arrives in the studio later that evening, they greedily open the sketchbook to sift through the gems collected that day. A glance, a smirk, an elusive quiver in the lips- they are all uncut diamonds of human experience caught in the net of the Sketchers sketchbook.

The Subway Sketcher

More from New York City subway sketchbooks. For the figurative and portrait painter, the New York City subways are a goldmine. I can think of no other place where the most authentic and interesting characters are available for the artist to draw. The model is compelled to hold their pose for an indefinite amount of time- perhaps the entire route from Times Square to Flushing or from the Bronx to the furthest reaches of Brooklyn. Conversely it may be for only one stop.
The Subway sketcher has to be swift and have a penetrating gaze. They must be able to encapsulate the character and the anatomy in their visualization field and pull from their memory.
The Subway Sketcher must also melt into the background, swiftly glancing from half closed eyes at their Subject and then quickly averting the gaze to the sketchbook, lest the subject be alerted to their being observed. As the doors open , commuters pile in, finding an available seat or position from which to settle in, and the Subway Sketcher immediately sizes up the new opportunities, scanning the faces and postures for the most interesting attitudes. The Sketcher prioritizes instantly, selecting those poses that will most likely change while mentally scheduling the sleeping commuters for later, picking those most transient and beautiful "shells on the beach" first, before they are swept away.