{"id":3664,"date":"2012-03-20T23:33:54","date_gmt":"2012-03-21T04:33:54","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=3664"},"modified":"2014-12-14T19:49:03","modified_gmt":"2014-12-15T00:49:03","slug":"givens-and-options","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2012\/03\/20\/givens-and-options\/","title":{"rendered":"Givens and Options"},"content":{"rendered":"
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Shoulderblade Contact, 2012, by Fred Hatt<\/p><\/div>\n

In an open life drawing session, the givens are simple: \u00a0There is a live nude model, who will take a pose and hold still for a designated period of time. \u00a0Using the materials of visual art, we must draw what we can from the model during the interval\u00a0allowed. \u00a0Over a series of sessions, we can expect to see a great variety of models, and if we want to, we can try out many different materials and techniques, but for a given class, we take the model we get and use the materials we’ve brought. \u00a0If it’s a big class, we will probably have little or no say about the poses, and may not be able to move from the viewing position we have taken up in advance. \u00a0But in the moment the model takes the pose and the timer begins counting down, we still have many options, and must make choices instinctively or deliberately.<\/p>\n

How shall we scale the figure? \u00a0Do we want to include the whole figure, or just part? \u00a0Do we focus our energies on trying to capture a likeness, or a feeling of structure, or what? \u00a0Do we isolate the figure, or include background elements? \u00a0What details should we include, and what can we omit? \u00a0Do we start with light and shadows, or with contours? \u00a0Shall we try to keep our hand as loose as possible, or as precise as possible? \u00a0These choices face us, in a way limited by our skill, even in a one- or two-minute pose. \u00a0If the pose is twenty minutes, or three hours, the options proliferate! \u00a0In an instructed class, the teacher may make many of these choices for us, but in an open practice session they are up to us, and the richness of the practice is greatly enhanced by not always making the same choices<\/strong>.<\/p>\n

That’s a general observation, the sort of thing I’m always harping on, and would perhaps be best illustrated by work from over the years, specifically selected to highlight the various choices involved. \u00a0But what I have to share with you now is a few of my recent watercolor paintings and crayon drawings of the figure. \u00a0I’ve arranged them to bring out similarities and differences, and the theme of choices will perhaps provide a lens with which to view them.<\/p>\n

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Slim, 2012, by Fred Hatt<\/p><\/div>\n

The first three illustrations are all 10- or 20-minute watercolor sketches of figures with crossed arms. \u00a0All of these have a loose, casual feel, but the scribbly strokes are anchored by contour lines that are carefully drawn. \u00a0The first two are standing poses, with the faces roughly indicated, and framed to include most of the body but not the feet. \u00a0The one below is a seated pose, framed closer, with more attention to the facial expression and the hands.<\/p>\n

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Arms Folded, 2012, by Fred Hatt<\/p><\/div>\n

Lines of color on the face give a sense of color and shading, but also convey some quality of emotion or energy. \u00a0Below I’ve used a similar approach in a longer drawing – I think this one was about an hour. \u00a0I had started out sketching a full figure, but as I went on with it I found that what really interested me about this model was her face, and I couldn’t get the details of the face in a full-figure painting.<\/p>\n

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Thinking Back, 2012, by Fred Hatt<\/p><\/div>\n

Including the chest as well as the face allows me to get plenty of expressive detail but also show something of how the head is carried upon the body. \u00a0In the watercolor sketches above and below, I’m using two of my favorite pigments, cadmium red and ultramarine blue. \u00a0The red shows where the blood flows near the surface, and the blue shows where the light is absorbed.<\/p>\n

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Relief, 2012, by Fred Hatt<\/p><\/div>\n

In the long-pose watercolor portrait below, I tried optical color mixing to give a sense of flesh tones. \u00a0By cross-hatching using fan brushes with cadmium red and green oxide, with some lamp black and phthalocyanine turquoise, I’m trying to get the glow of life. \u00a0Adding bluer tones to the background also emphasizes the warmth of the figure.<\/p>\n

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Chuck, 2012, by Fred Hatt<\/p><\/div>\n

The portrait below is drawn with white and reddish-brown aquarelle crayon on warm gray paper, with the darks filled in with black watercolor. \u00a0A wet brush was used to blend some of the white aquarelle crayon.<\/p>\n

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A.Z., 2012, by Fred Hatt<\/p><\/div>\n

The model below, Julie, \u00a0has an inner happiness and confidence that I can’t help but express in my drawings of her. \u00a0Plump females may get no respect in the media culture, but they’re very popular as figure drawing models, because their rounded forms are beautiful on paper, and they’re a lot easier to draw than wiry, angular models. \u00a0Something about this pose just makes me want to dance, and I had to get the whole figure on the paper, from head to feet, in this 20-minute watercolor sketch.<\/p>\n

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Coquette, 2012, by Fred Hatt<\/p><\/div>\n

The body leans to one side, and that violation of balance makes a still pose seem active. \u00a0In the long pose watercolor below, I chose to develop rectangular elements in the background to contrast the inclined body.<\/p>\n

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Piet, 2012, by Fred Hatt<\/p><\/div>\n

Every Monday morning at Spring Studio I am the monitor for the 3-hour long pose session. \u00a0We do a set of 2-minute warm-up poses and then, subtracting the breaks, we have about two hours to study a single pose. \u00a0Once in a while, we have two models at once. \u00a0Two models isn’t just twice the work, it multiplies the geometrical relationships of elements and reveals every feature of the face and body by contrast to a very different face and body. \u00a0The intensity of observation required usually sends me into a more realist mode than I might otherwise pursue.<\/p>\n

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Two Women, 2012, by Fred Hatt<\/p><\/div>\n

The realist mode of painting is obsessive, and when I really get into it, every detail of texture or color becomes achingly beautiful – even the way cellulite refracts light.<\/p>\n

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Center of Power, 2012, by Fred Hatt<\/p><\/div>\n

Sometimes in a session you get an angle on a pose that, on first glance, doesn’t seem to offer much. \u00a0A back view, flat lighting, not much visible anatomical detail – not much to work with, right? \u00a0No, this is an opportunity to notice subtleties, and to find how simple details – the arrangement of the fingers, the way a scarf is tied around the head – can make the boring pose dynamic.<\/p>\n

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Back with Headscarf, 2012, by Fred Hatt<\/p><\/div>\n

Here’s another example of a pose that at first seemed a bad viewpoint. \u00a0But look at how the angular joints stack up! \u00a0Look at how the light pulls everything up and to the right, while the shadows and the black hair give the figure gravity.<\/p>\n

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Listening, 2012, by Fred Hatt<\/p><\/div>\n

Contrast the skinny body above with the corpulent body below. \u00a0The range of variation of the human form is a wondrous thing to contemplate.<\/p>\n

An artist working with a model in his or her own studio would be unlikely to choose either of these sideways\/backwards views of a pose, but in a class or an open session you get what you get, and what do you know, this is a great angle to reveal the energy of the body!<\/p>\n

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Column, 2012, by Fred Hatt<\/p><\/div>\n

When I work with a model in my own studio, I can do experiments with angles and lighting that wouldn’t work in a class or open session. \u00a0The next two figures were drawn (in aquarelle crayon) by looking through a mirror set on the floor with the model standing above. \u00a0This gives a foreshortened view with a standing pose. \u00a0In this way, I’m looking up by looking down, while drawing on the floor. \u00a0The figure in the mirror is seen upside-down, and these drawings were made that way, with the head at the bottom of the page. \u00a0One of the pleasures of the foreshortened view of the figure is unusual juxtapositions of body parts. \u00a0Notice below how one elbow aligns with the head, and another with the cleft between buttock and thigh. \u00a0That’s something you will never see with the normal straight-on view of a standing pose.<\/p>\n

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Atlas 2, 2012, by Fred Hatt<\/p><\/div>\n

My inspiration for these figures was ceiling frescoes, which often show cherubs and mythological characters as though one is looking up at bodies floating in the sky. \u00a0The figure towering above has a godlike quality. \u00a0This is how adults are seen by babies!<\/p>\n

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Atlas 1, 2012, by Fred Hatt<\/p><\/div>\n

This pose was done lying face down on the floor, but it naturally conveys the feel of flying. \u00a0I was sorry to lose that left hand, but just couldn’t shrink the figure down enough to fit the entire thing on the page!<\/p>\n

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Soar, 2012, by Fred Hatt<\/p><\/div>\n

Here’s a reclining foreshortened view from the head end of the body, with the light coming from behind. \u00a0This is a sketch painted with white gouache on black paper. \u00a0I love unusual, foreshortened views of the body. \u00a0In drawing them, I find it very helpful to think of the eyes as organs of touch from a distance. \u00a0The fingertips that are touching this body are rays of light, and it is that touch that the eyes receive and translate into drawing.<\/p>\n

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Morning Light, 2012, by Fred Hatt<\/p><\/div>\n

All the pieces in this post are around 18″ x 24″, in watercolor, sometimes with white gouache, and\/or in aquarelle crayon on paper.<\/p>\n

EVENT THIS WEEKEND:<\/p>\n

On Saturday, at Soundance Studio in Brooklyn, I’m showing an experimental video I made last year with dancer Kristin Hatleberg. \u00a0Kristin improvised movement at Ringing Rocks Park in Eastern Pennsylvania, a unique landscape with boulders that ring like steel when struck. \u00a0Filmmaker Yuko Takebe and I both shot video of Kristin in this environment, and then each of us made our own edits of the combined footage. \u00a0It’s fascinating to see how two different sensibilities transform the same raw material. \u00a0We’ll be showing both versions of the Ringing Rocks video at an event also featuring other video and live dance work at Soundance Studio in Williamsburg, Broooklyn, this Saturday. \u00a0Here are details:<\/p>\n

    \n
  • \n
      \n
    • \n
      \n
      Saturday<\/div>\n<\/div>\n<\/li>\n
    • \n
      8:00pm<\/div>\n<\/li>\n<\/ul>\n<\/li>\n
    • \n\n\n\n
      <\/td>\n\n
      281 N. 7th Street in Williamsburg, Brooklyn<\/wbr><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/li>\n
    • \n\n\n\n
      <\/td>\nFree Admission! Reservation required!
      \n2 Excerpts From Generations: A Dance and Film Collaboration Conceived and Directed by Janet Aisawa with choreography by Emily Winkler-Morey and Judith Grodowitz
      \nRinging Rocks Remember: Companion Films by Yuko Takebe and Fred Hatt, with dancer Kristin Hatleberg
      \nAdditional Videos by Vanessa Paige &\u00a0Dalienne Majors’ Video of Sarah Skaggs’ 9\/11<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

      In an open life drawing session, the givens are simple: \u00a0There is a live nude model, who will take a pose and hold still for a designated period of time. \u00a0Using the materials of visual art, we must draw what we can from the model during the interval\u00a0allowed. \u00a0Over a series of sessions, we can […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[208],"tags":[133,275,17,44,18,21,96,22,134],"class_list":["post-3664","post","type-post","status-publish","format-standard","hentry","category-figure-drawing-process","tag-art-modeling","tag-color","tag-figures","tag-nudes","tag-portraits","tag-process","tag-sketch","tag-technique","tag-watercolor"],"yoast_head":"\nGivens and Options - 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