Keziah

Twenty-fives.

Lynda

Fives and twenty-fives.

Christine

Fives and twenty-fives.

Mike

Twenties.

Quante

Twenties. Some of the drawings are flipped - meaning, I tried to work out the pose as if I would be seeing it from the opposite side of the room, without actually walking over there. Looking back at these, I can't remember which were the originals...

Malo

Twenties.

Brant

Twenty-fives.

Amy

Twos, fives, a ten, and twenty-fives. I tend to get bored during the twenty-fives nowadays. I'm not exactly sure why, but I guess the reason why I prefer shorter poses is because I move my hand faster out of necessity, and doing so makes me I feel as if I'm conducting an orchestra or waving a magic wand. Or something similarly cheesy like that. I guess another way of putting it is that I end up feeling the natural rhythm and flow of the sketch. Whenever that happens, my drawings usually turn out well.

It's too difficult for me to reproduce that sort of experience and sensation with longer poses. I'm sure there's a way; I just haven't stumbled upon it yet.

Bridgette

Twos, fives, and twenty-fives. Haven't done quick sketch in what seems like forever and boy it shows. Been drawing lately on rough paper because I enjoy seeing the texture in my sketches. That or I've been hanging around my Art Center buddies too much. Probably both.

Sara

Twenty-five minutes for the first two sketches, fifty minutes for the second. I decided to start drawing in ink in a tiny Moleskine for a while to keep things fresh and to get more sketches in with the time I have at workshops. I've also been inspired lately with the pen-and-ink drawings of Charles Dana Gibson and wanted to try something in his style. In addition, I also realized that pretty much all my favorite fantasy illustrators do amazing ink renderings, and since I'd like to try to break into that field someday, I figure I might as well get good at it too.

Ink is really frightening since you're walking a tightrope without a net - make one false move and your drawing is trash. But for some reason, that's exactly why I like it - knowing it's permanent frees me from noodling too much and forces me to make big decisions.

Malo

Fives. Malo dressed up as an Arabian princess for our clothed figure quick sketch class. She's always really fun to draw!

Joseph

Fives to fifteens.

Dick

Francesca

Twos, threes, fives, and a two-hour pose.

Sherman

Twos, fives, and a two-hour pose.

Marla

Twos, fives, a fifteen, and twenty-fives. Marla's pretty fun to draw - kind of a mix between Bettie Page and a Frazetta girl. She threw out some tricky poses tonight. Of course, this is the session I decide I want to focus on shape design. Sheesh.

Natalie

Fives and a two-hour pose. My instructor Lucas worked on the head and fixed some of the wonky shapes I had going on. Thanks man.

Sara

Fives, twenty-fives, and a three-hour head drawing. Regarding the last one: I don't think I captured Sara's likeness to my satisfaction, but I racked up some good lessons in rendering form nonetheless. I worked an extra hour at home on the portrait to clarify my shapes and values, using as guidance demos my teachers at Watts Atelier had posted of their own head studies. Even though the model and lighting were different, I could still borrow their solutions to help me bring this drawing to a better finish. So guys, thanks for the help.

Miki

Five minutes. I have more quick sketches from the session, but I'm not terribly happy with them. Why? Well, I was pretty frustrated all morning as I wasn't able to put down the marks I desired to. I kept asking myself, "Wow, where the hell did all my dexterity go?" Everything I put down seemed to go dark gray almost immediately. I thought I was losing it. I began to suspect the coffee I had this morning was to blame. Then I accused the windbreaker I was wearing of mucking things up (maybe it was impeding my arm movements).

I didn't realize until the afternoon class that the reason I was having so much trouble was I had slipped a few sheets of drawing paper underneath my smooth newsprint. Drawing paper's a lot rougher than the stuff we typically use in class, so its teeth eat away at the charcoal more easily, and as a result, your marks go black faster. Newsprint is so thin it can pick up the texture of whatever is lying underneath, so let this be a lesson - be mindful of what you're drawing on!

Nicole

Twos and fives. Exercises in figure construction to help me memorize a mannequin to use for inventing figures out of my head.