This was such an enjoyable figure drawing to work on. Luckily I got off to a flying start with a good solid block-in. I put a lot of effort into breaking down the figure into the major planes, which, although the drawing looked somewhat like a robo-guy for a time - enabled me to establish the overall proportions pretty accurately from the very beginning.
I wanted to produce a full value drawing and so I also devoted a decent amount of time to getting a background in that 'worked'. I used this to inform the values within the interior of the figure. It's come out well, compositionally - although it is perhaps a tad more dramatic than I originally envisaged. After the background, the main challenges were to ensure there was a nice solid feel to the standing leg and creating an interesting pattern of light in the upper torso. I had great fun trying to convey the somewhat less elastic skin type of an older model, which I think I've achieved with reasonable success.
As so often happens, the gesture of the figure seems to have straightened up a bit over time. That is normally a product both of the artist making corrections which undermine a strong gesture and the model reducing the amount of strain in the stance over the course of the pose. Something to be mindful of in future.
Ben Laughton Smith
Contemporary works of art in the classical tradition.