As part of the exhibition that we are building up to at the end out our field project, we are looking at figurative drawing at interesting techniques used to record our clay creations. This was a self guided session, in which we were given charcoal and paper and left to explore the various ways that we can record our pieces; as charcoal is a great material to draw figuratively with, the weight and position of the charcoal can change the mark and the weight it carries on the page significantly.
With the charcoal, I started out with quite gestural and simple line drawings, using cross hatching shading and minimal smudging. I started off with my hand molds, which looked quite good in simple lines, as the shape and creases of the hands were the most important aspects of the form. In these first drawings, I focused on the line work and the thickness of my lines, as the pressure applied to the charcoal and the angle I held it at showed the change in weight of the figure in different load bearing areas.
When I came to draw the head, it was a little harder to manage, as the head had already been taken to be fired in the kiln; so instead of being able to draw the head from life, I had to draw it from the pictures that I had taken on the day that I made it. Though it did give me the advantage of having images of the head both before and after I finished the features added in the slip.
When I started drawing the two photos that I chose of the before and after the slip, I shaded with dots and charcoal dust, probably really annoying everyone else in the studio. This shading gave me a great texture for the surface of the clay, I particularly focused on this on the final image of the head with by slip and carving, looking at how the surface of the clay held the areas that I pressed into to model the head and to shape different areas. Though I found drawing the unfinished head to be more expressive, as I really got into the dotted shading and the form of the head, looking at the detail in the ears that was covered by the slip and the hollows of the eyes and cheek bones; both feature that where further worked into with the slip and carving, but still looked really nice when they where still unfinished.