Loosening Up

From the moment I saw this pose, I liked it and wanted to do a drawing. The first thought that came to mind was a comic book action hero, with the dramatic, action-filled pose, and the interesting camera angle.


So, in keeping with the bold primary colors characteristic of comic books from the 50s and 60s, I jumped right in with red and green as the primary colors for the basic shapes, and blue, another primary, providing the shadows.

Also in keeping with the spirit of the pose, I made sure my strokes bold and free, with less of the blending characteristic or some of my other pastels. I was pleased with the speed and assurance which I worked, and have become better at putting the chalk away, before I think I am finished.

This image marks a bit of a departure, as I begin to explore more dramatic camera angles and foreshortening. I continue to have the figure shapes floating free from the background, yet tied to the edges of the page. The large areas of untouched paper actually is an idea that I picked up while looking at the work of Sam Francis, who I greatly admire. His affinity for strong colors "dancing" on white canvas is very striking.

CMYK, for starters.

Cyan. Magenta. Yellow. Black. The building blocks of commercial color printing, and the tools of my trade over the last 30 years in the graphic design business. To this day I am amazed that these four colors can combine to produce some remarkable color printing of astonishing fidelity given the limited source palette. For this drawing, as an exercise, I played with the idea of working with these limited colors and simulating what commercial printing does: produce a final that is perceived to be varied in spectrum, contrast, and intensity, despite a limited source palette. I followed my usual working method of blocking in color over a simple form sketch, with yellow for the highlights, magenta for the mid tones, and cyan for the shadows (see Step1 in photo).

Similar to color printing, I used black to provide contrast and definition. In theory (here), cyan, magenta, and yellow alone should be able to produce a credible simulation of the full spectrum. However, given the limitations of printing ink, paper whiteness, and viewing light, the black is necessary to “punch it up”. And so, I did the same, adding black over the color areas (Step 2 in photo), to darken where the combination of cyan and magenta were incapable of producing the necessary contrast. I worked the cyan and magenta together, one over the other to darken each in their respective areas. Ok, with a little orange to transition between the magenta and yellow, the combination of which in pastel anyway, produces a peculiar pink unwanted here.

For the final, I wanted to thin out the highlights a bit so that the yellow was not so intense. I buffed it down and then came over with some light beige and tans, working them into the background and then re-establishing the yellow where necessary. I wanted a high contrast, but I didn’t want the shadow areas to be too “black black”, but rather, a “colored black”. I scrubbed down the black chalk and worked deep blue and purple together, plus a little green to muddy things up. Not true CMYK, but less stark. I reserved the black for the final definition of forms, where absolutely necessary. “Punching it up”, in my own way.


A couple of production notes: I worked from a black and white image. Or at least the print-out is, I may have stripped out all color from the original at an earlier stage, I can’t remember. The paper is my standard, Rives BFK, but in a hard-to-find size: 30 x 42”, which leads me to believe the sheet may have been cut from their standard 42” wide roll.

Before and After Photos

I work from photographs almost exclusively. This allows me to take figure images, rotate, crop, and otherwise manipulate them into compositions that suit my needs. But what starts out as a source photo is almost never the image that I use as the inspiration for a drawing, and it certainly never resembles the final image. There are artists that do work directly from photos and endeavor to match them accurately. I see nothing wrong with this approach, but it doesn't appeal to me. I prefer to let the abstract, gestural aspects of drawing show in the final.

For the following drawing, I selected a figure image that was a particularly appealing form, but changed the value emphasis dramatically from a dark, somewhat murky original to high-key and light. As I often do, I opened a stock photo in Photoshop, cropped it tightly so that when enlarged to 30"x 42" paper size would be larger than life, and then value-shifted it to dramatize the highlights and give the image a sun-drenched feel. The original photo is on the left, and my cropped and adjusted manquette on the right.


Additionally, I had a trio of colors in mind that I accidentally noticed one early dawn while looking out a hotel window in San Francisco. Daylight was emerging and the murky early morning light threw three colors across a hotel down an alley: a deep purple/brown shadow, a light khaki/lime green mid tone and a light pinkish cream highlight. The shadows came to be known in my mind as a "sickening, dull bruise" and the highlights sort of a "thin, washed out Band-Aid". Here is my sample swatch, which I tape to the easel as an initial guide, but more often than not wind up either forgetting, or simply going in a different direction.

Also, my working manquette had a fairly neutral warmish gray beneath the figure, and a very, very pale pink above. But early on, after I had put in the gray under drawing beneath the figure, I decided to scrub it out and let the figure stretch and float on the white sheet. Needless to say, it took considerable scrubbing, several erasers, and about an hour to remove the unnecessary background. The final drawing is below. Unfortunately, a small digital photo cannot possibly render the subtle colors of the original. I am pleased with the result, particularly the combination of the "adjusted" source photo and the "accidental" color palette.