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master study of Kahte Kollwitz self portrait in charcoal on arches

master study of Kahte Kollwitz self portrait in charcoal on arches

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15 minute structural study of a standing nude in graphite on newsprint [2011]

15 minute structural study of a standing nude in graphite on newsprint [2011]

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master study of a life drawing by Ingres

master study of a life drawing by Ingres

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15 minute structure study in graphite [2011]

15 minute structure study in graphite [2011]

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Detail of seated nude [2011]

Detail of seated nude [2011]

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Seated Nude [2011]
18” x 24 ” Charcoal

Seated Nude [2011]

18” x 24 ” Charcoal

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master study of Jacques Villon [half brother to Marcel Duchamp] self portrait [1934].  done with a sharp pen nib and india ink.

master study of Jacques Villon [half brother to Marcel Duchamp] self portrait [1934].  done with a sharp pen nib and india ink.

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master study of Giacometti’s 1937 self portrait. 

master study of Giacometti’s 1937 self portrait. 

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in process shot of a master study of a life drawing by Ingres

in process shot of a master study of a life drawing by Ingres

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Although I’ve done abstractions of myself in different projects, this is my first attempt at a realistic representation.  I approached this as organic as possible, relying on value changes instead of contours, extensions or measurements.  In doing this, I’m a bit skewed in certain spots—particularly the right side of my face—as my hand isn’t fully trained to trust my eyes.  Like Cezanne complained before me, every single movement seems to affect the whole composition.  Looking up and down at a mirror forced a commitment to major landmarks earlier on, but I still moved things around which shifted my face out of the frame.  After a couple hours, my perception changed from drawing a person to drawing an object—this spot is darker than that which is directly next to it and so on.  This objectification of myself further distances my willingness to agree that this portrait is an accurate representation.  

Although I’ve done abstractions of myself in different projects, this is my first attempt at a realistic representation.  I approached this as organic as possible, relying on value changes instead of contours, extensions or measurements.  In doing this, I’m a bit skewed in certain spots—particularly the right side of my face—as my hand isn’t fully trained to trust my eyes.  Like Cezanne complained before me, every single movement seems to affect the whole composition.  Looking up and down at a mirror forced a commitment to major landmarks earlier on, but I still moved things around which shifted my face out of the frame.  After a couple hours, my perception changed from drawing a person to drawing an object—this spot is darker than that which is directly next to it and so on.  This objectification of myself further distances my willingness to agree that this portrait is an accurate representation.  

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