Definitively, one of the more testing exerciese for your drawing is drawing from real life. After a long recess, we got a new session, thanks to the efforts of the amazing artist that is Matthew Ryder. Well, it was good as this time we had a model with a different complexion, which require a different color and light approach.
The sitter, a guy from Baluchistan who worked as a mover/gardener, required another type of approach as the light was different Here we got a try to watercolor Although I approached it more like drawing than washing colors in big patches. That is the practice-sanctioned canonical way of doing it .
In that scheme of execution, you make big washes with your brushstroke, allowing the color expand trough certain border you already have delimited. It is a tricky business.
Also there are techniques such as using special glue or bocking glue (not sure is that is the name) which allows you to get some sharper edges. Well, not that I did anything of that here. Here, in the hurry of the moment, I used the brush more like a pencil. Certainly I sacrificed any vibrancy of color in exchange of certain armony of proportion and shape, but that is, you got to chose, and the emphasis in this exercise for me was to try to catch a certain fidelity to the subject in the most primary form which is of shape and light.
Light specially, since this time it was lateral to the subject but frontal to his position when seen from my place, making it easy to flatten the volumes and the shapes of the clothes and the body. I think that was the main challenge in this session. Sometimes drawing at speed is like a sport; you exercise certain movements in which you really concentrate, as they said, sport practiciners while exercising use ne really develpped part of their brain rather than the whole thing. I think that is pretty much what happens with most of the artists.