Some Thoughts on Paperwork Part 2 of ? - Looking, Moving Slowly, Focusing/Highliting

One of the things we were repeatedly told in the figure drawing class of yore was to look, to not jump right into a drawing and start waving our hands/arms. I was very bad at this, often drawing as I prepared to look. Some weeks ago, in order to combat this, I somehow began to look for an element in the face I want to highlight, even leaving out other parts. I still started drawing while I looked for that special part, and often I still put in much too much, but the new focus helped quietening the mind. Some faces/poses yield so many elements I want to highlight; and let's face it, others, none. The easiest to highlight was the hair because of the textures and shapes, so much so some different faces ended up looking similar to each other on paper. Never mind, making things more complex is my forté; this simplification is new and exciting!  

I think this is why I turn to blind drawing more and more, as it slows down the hand. 

Then a new issue emerged; it's to walk away when I feel I'm finished. I try to stop by writing Q and to put the tool down, but more often than not I keep going and have ruined by meddling; and I seem to do this more often more recently. 

This man held a Matisse-shaped paper above his head, right elbow resting on the table. His eyes were also very quirky. I didn't get that far.

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Another thing I noticed; in short few weeks, I was gestural-drawing, something I loved years ago, but cannot turn on/off. I do it more often when I draw standing, or if I'm working "bigger". I try not to interfere, and it doesn't happen as often as I like, but when it does, it's intoxicating. 

Looking at the photos, I can't tell you with where one the magic happened. I don't know if I should make a note in future. 

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Something I tried in the private group: instead of blind contour drawing, I tried blind contour cutting. I noticed right away, when I'm cutting, I can only cut the outermost, or another, line, not all kinds of lines to illustrate a shape. Duh! I chose some of Modigliani photos and paintings I'm familiar with, but they were extremely quickly done, and somewhat unsatisfying. Groupmate C asked what I was going to do with them, and while I knew I had to do something, I had no idea. I chanced upon something I did with an incomplete screen print years ago, but it didn't work this time. I have other half-ideas, but I'm not sure if I want to spend too much time on these. 

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I knew this, but it remains true still: I prefer older people to smooth-skinned young faces in general, and faces that have lived a life, if you get my meaning. 

Also true, some of the best/loveliest/most interesting faces/poses don't turn out right in my hands, and the harder I try, the worse they come out. This is frustrating, and to put it mildly, soul-crushing; I could be working on a quick masterpiece in that time. I think this is what makes these sessions addictive, because maybe next time a beautiful face poses in a stunning way, I will be able to capture it! 

This man had the most professorial face and demeanor, and the only man wearing a jacket in my two months of Zoom drawing, but of course I couldn't do him justice. I can only hope the host picks him again. 

All the pics from Zoom Faces are from February; the private group photos are from January.