Over the years several people, looking at my pictures, have helpfully remarked about the relative weakness of my figure-drawing. They were right, and I have taken steps to try and improve this aspect of my work. Two lines of approach have both been helpful, although in quite different respects.
I have been an assiduous participant in life-drawing classes, and I have found that (in addition to various technical aspects of drawing) these have been immensely important in teaching me to observe closely, and not to rely on what I think ought to be there. Of course, at one level we all know what a human being looks like….but the generic knowledge this entails is actually not a great deal of assistance when it comes to drawing or painting specific people in particular circumstances.
The other tactic I have adopted has been to use actual live models for figures in my pictures. This has involved recruiting family members and friends to pose for me, doing what they might feel are very odd things. Our neighbour’s son, for example, had to get up to some odd tricks when he was modelling Italian soldiers of the Great War for me, towards my Presente! project. Pulling field-guns through the snow is not something of which he has a great deal of experience, but it all worked out quite well.
The project on which I am currently working has required that I do something similar. I am coming to the conclusion of a series of images dealing with the subject of creation and creativity, based upon references to the Biblical creation myth. All went well until I reached the piece that dealt with Adam and Eve. Although I explained carefully to a friend that she and her husband would be able to wear swimming costumes, it was pretty clear that she wasn’t really keen. Then I had an idea for an alternative method.
Visiting the annual Patchings Festival I spotted, on one of the trade stands, a couple of mannequins made of wood. You probably are familiar with the idea of these things, even if you have never used one. The figure stands about 30 cm. high, and is articulated in such a way as to enable it to be manipulated to any pose you need. It struck me that this might answer my need, and I bought one. Accordingly, when I came to get down to work on the Adam and Eve scene I set up the model in the poses required by each of the three figures in turn.*
In fact, despite finding the process rather laborious (you can’t just ask the model to turn slightly to the left and raise its right arm a little higher) I seemed to be getting the hang of it. As I approach the conclusion of the piece, however, I am less than satisfied with the result. I’m quite pleased with God, and Eve is OK, after several attempts to get the head right. Adam, however, is still far from satisfactory. At the moment he looks to be exactly what he is….a rather inflexible wooden figure. Perhaps it is redeemable (there’s a theological thought for you!) but I doubt that I will resort to the mannequin again except in dire need. It is about as much use as the proverbial chocolate fire-guard. It will be back to the real-life model….even if it is not always easy to persuade people to take off their clothes.
*Three? Yes: don’t forget God. In this case a middle-aged woman in a track-suit, if you can get your head round that one.