(An update.) Still tinkering. Her bent leg was too long in the version posted below this one, I thought. And without the pillar behind her, the shadow didn't make sense, so I've tried to decrease it. While I have used some Golden titanic white acrylic to cover the original charcoal lines, the Cretacolor Aquastics, or water-soluble oil pastels, all the colour that you see, do rub off mostly with water (which is a very nice thing about using them on canvas). Once I spray with an archival fine art fixative, everything, of course, sets permanently.
That arm is bothering me still. The original sketch was done too quickly in a darkly lit room (for the artists, the models were well lit with stage lights) for my normally slow drawing.
I really am more interested in the energy, sensuality and colour of these small charcoal and pastel paintings, and anatomy must serve that, and so I don't worry too much unless it interferes with the overall flow. Does that arm interfere in your viewing, and what would you suggest for 'fixing' it? If the eye skirts over it, as a vertical line, like the dancer's pole, then it's ok, no?Woman in Ribbons
, 2012, 11" x 14", charcoal, oil pastels, acrylic on triple-primed canvas sheet.
(Original post.) Today I finished one of the sketches I started at 'LES CHEVAUX, a late night drawing extravaganza,' hosted by The Keyhole Sessions, a Rogue Nuit Blanche event. She wore an incredible headdress composed of many multi-coloured ribbons, and I could not see her face from my angle.Woman in Gladiator Corset and Ribbons
, 2012, Brenda Clews, 11" x 14", charcoal and water-soluble oil pastels on triple-primed canvas sheet.
Original raw sketch.