| ....with Artist Alan Tulloch |
| TRANSFIGART |
| ....with Artist Alan Tulloch |
| An Online Connection for "The Figure as Document" Woodlands ArtsFest 2004 |
| All images on this website are copyright to ascribed artists and may not be reproduced without the permision of respective artists. |
| Tutor's Gallery 2 All artworks shown on this website are for sale unless marked NFS. Sale enquires can be directed to the artist via the email link on each page. Make sure that the exact title used on the website is quoted when seeking prices. Be part of the Life Drawing adventure ....... as a student or as a model (become part of 'the style'). |
| "Set" 1986 - Alan Tulloch, Nikko Pen, Pastel on Newsprint Paper (400 x 400mm) |
| "Tonal Study" (NFS - Posession of Model) 1987 - Alan Tulloch, Pastel on Newsprint Paper |
| "Tracey" 1986 - Alan Tulloch, Pastel on Newsprint Paper (430 x 460mm) |
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| "Tonal Study" (NFS - Posession of Model) 1987 - Alan Tulloch, Pastel on Newsprint Paper |
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| The approach used in this drawing is experimental and is not necessarily consistent throughout. The zigazag markings plot areas of rest while suggesting the slant of planes and relationships with other such areas. The colour selection is slightly arbitrary, though a contrast that relates to the character of of the pose and model is considered. |
| In "Set", I had been experimenting with the use of a broad, chisel-tip, spirit-based pen. This kind of medium makes an immediate 'commitment' to the paper. The chisel tip can be tilted to produce line width variation. The lines 'cut' out the forms in what some might call a 'stylisation', though the thought behind the lines was more in the category of 'character responsiveness', aiming to suggest the character of the model and pose.. |
| A lot of figure drawing could be thought of as 'purely visual', but no drawing is free of 'narrative content'. People are compulsive 'story tellers'. In figure drawing there is always a combination of.... the story told by the artist the 'stories of art' at play stories generated by the model. The model in these two drawings was often thinking about 'good poses'. The idea 'good' is part of a larger 'story system'. In these cases, a 'pre-story' to the poses is 'dramatic is good'. A second pre- story is 'there is beauty in "relaxed abandon" (adjacent) and in "muscular compression" (below). |
| Responses to the poses continued these stories with techniques that were equally dramatic. The tonal work in this approach is not strictly representational. Note that the calves against the thighs have not produced shadow - the image is like a photo-graphic negative of the figure. The use of the broad side of the charcoal or pastel helped to sustain muscular tension or relax-ation adding to the other stories suggested above.. |