Statue Drawing at the Kelvingrove.

I spent yesterday afternoon at the Kelvingrove Art Gallery, making some charcoal sketches of statues. Figurative sculptures make excellent subjects: they’re extremely patient sitters, and will work for as long as you do. White marble or plaster sculptures are great to draw, because it’s much easier to see the tonal values without getting confused by colour.

The first is from a white marble bust of the architect, Alexander “Greek” Thompson, about an hour and a half’s work:

Alexander Thompson, Charcoal, 12/11/2011

Overall, I think this one is pretty successful. The general tonal relationships are well balanced and the draughting is fairly accurate. Things that immediately jump out as bad are the rough swirly marks indicating the hair – I was lazy here, indicating the form with quite ugly lines, rather than modelling in pure tonal masses; the cast shadow on the right hand side of the face (left in the image) appears quite crudely blocked in; the area around the ear does not read well; and the dark shadow on the left side of the forehead is too dark and linear and spoils the three-dimensionality of the piece. I could also have spent more time honing the shapes of the highlights in the forehead, although I do quite like the muscular quality it gives to the render.

Next, I spent a couple of hours drawing this horribly sentimental Victorian number:

Plaster Sculpture, Charcoal, 12/11/2011

Again, I’m pretty pleased with the result. I could have spent a lot longer finishing the piece, but it was getting towards closing time at the gallery and I was getting hungry. However, a little more time spent tying together the tonal relationships across the whole drawing would have been good, as the final image seems a little lacking in unity. I should have spent more time at the beginning establishing the major masses of the base of the sculpture too. Other obvious points are fudges – particularly the boys feet and right hand.


~ by cdrfuzz on November 13, 2011.

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