Wednesday, March 4, 2009

Dates for the summer sketch group

The formal schedule will be up in a day or so, but here are the particulars:

The next four sessions will be
March 22
March 29
April 19
April 26

Sundays, from 3pm-6pm in the theater at Jimmy's #43 at 43 East 7th st. Downstairs.
You may use any media and equipment that doesn't do property damage or inconvenience other people in the room (excepting photography, of course).

Poses will range from 30 second to 20 minutes.

The food and beverages at jimmy's are excellent!

I'm just resolving some tiny details, and then I'll send out the invitations via

You're really going to enjoy this group!!


Monday, March 2, 2009

What good is a 30 second pose?!

I occasionally help run sketch classes in a couple of schools around the city. I often end up with the dubious moniker of "30-second man." Despite what some of my ex-intimates may say, I earned that name because, when I run a class, I like to start out with ten 30-second poses. Now, most sketch classes will start out with one minute poses, so why cut that in half? As it stands, a one-minute pose is so fast...

When I was first introduced to 30-second poses, it took me a while to get to like them. I'd already been drawing nudes for a long time, years in fact, and never did anything shorter than a one-minute pose. It was in Nathan Cabot Hale's class at the Art Student's League in the 80s that I was first exposed to the 30-second pose. Hale, a relative of the famous ASL instructor Robert Beverly Hale, was a sculptor and an anatomist with a fierce demeanor and a good sense of humor. He felt 30 second poses were good for you, and since he knew his business, I thought I should give it a try. Besides, some of the other students would just sit out the short poses without even trying, and I didn't want to give up like that. I rarely refuse a challenge. I rapidly learned to love the 30-second because of how quickly my drawing improved. Why? Here's why:

--You just barely have enough time to capture the gesture, the movement & feeling of the pose. You can't get hung up on any of the details. This is more important than it seems at first. One of the problems a lot of people have is that their drawings seem stiff and woody. The drawing doesn't have the spark of life to it. It may even seem overworked. In 30 seconds, if you get much, it will mostly be that spark.

--You just have enough time to draw the whole figure. Which means you just have enough time to see the whole figure. Getting the parts of the figure all in proportion to each other can be a very difficult thing, and the trouble is that as we draw, our attention gets hung up in the details, as whatever part of the body we spend more time on can come out bigger on paper (usually the head or hands). You can even see this happen on drawings by some of the great artists, even Prud'hon.

--You begin to perceive the figure as a whole in your mind, and this lets you work more quickly.

--You begin to remember more with each glance.
--An inspired model can strike short poses that they could never hold for longer.

--After doing a few 30-second poses, the one minute pose seems like its five times as long, and you'll get so much more out of it.

Sounds like they're worth giving a try, now, right? After all, 10 poses in five's a little investment with a big return!