I have been playing around with the idea of images that, when combined together, form a separate unique image: the whole is greater than the sum of its parts. For some time I have been struck by the dynamics of this particular pose, thinking it well suited for splitting in two. The initial underdrawing was done on both sheets simultaneously, to maintain the flow of the figure. But as I worked up the color, I let the left hand drawing stay on the warm side, while the right took on a cool tone.I also purposely avoided too much blending and smoothing of the pastel. My previous drawing suffered from too "refined" a surface, and lacked vigor. This pose certainly deserves vigor! While this drawing is not fininshed (the chin at the top when the clamp fell, and general clean-up), I am hesitant to mess with it too much for fear of ruining a good thing.
Also, after doing the initial drawing from the photo manquette, I purposely set the photo aside and worked on the drawing in front of me. This helped me avoid being too fussy and tight.
The title, Torso Diptych with Claw, derives from a comment Francine made upon first view: "this is cool but the hand on the right looks like claw". I like the sketchy roughness, and if it reads as a hand, OK by me.
