Figure Study.

Michael Whynot. Figure Study, 2012. Red chalk with white highlights.

Just posting a life drawing done before Christmas. Red chalk with white conte highlights. I'll try to post some more life drawings tomorrow from my Sunday life drawing session.

Drawing of the Day.

Michael Whynot, 2013. Portrait study. Graphite.

Draw something every day. Don't compare yourself to anyone else. There will aways be some some draftsman who is better than you are. Down this path lie feelings of inadequacy.

Ask yourself one question: Is your work better today than it was yesterday? Your goal should be steady improvement. Save every drawing; date them. You will be amazed at your progress when you pull out last years drawings and compare them to your current work. Persevere.

Homage to Frazetta.

Michael Whynot, 2012 (after Frazetta). Graphite.

Frank Frazetta (1928-2010) was, arguably, the greatest fantasy illustrator of the 20th century. His paintings sell for fine art prices. But, as good as they are, I believe Frazetta will be remembered as one of the greatest draftsmen of all time. His pen and ink drawings are, quite simply, some of the best ever done. Some critics dismiss him because of his subject matter, but if they can see past this, they will find a draftsman on par with Michelangelo and Raphael. Students should study and make copies after his works just as they would the renaissance masters. There is a wealth of technique to be learned here. I will post some of his drawings in a future post. Above is my study of one of his sketches.

Facial Study.

Michael Whynot. Facial Study, 2013. Charcoal.

A facial study, done this morning from imagination in compressed charcoal. This is a medium I don't use very often as I have always struggled to get the effect I'm looking for. So easy to cross the line and overwork the subject. It can become messy very quickly. I continue to struggle with it, though.

Marginal Drawings.

Michael Whynot. Pencil drawing, 2013.

Michael Whynot. Red chalk drawing, 2013.

Michael Whynot. Pencil drawing, 2013.

Michael Whynot. Red chalk drawing, 2013.

I strive, daily, to be a better draftsman; all of us who draw do this. It is in our nature. We all endeavour to do better, that which we have a calling to do. It is the trait in human nature which spurs us on to great things.

In the course of writing this blog, I began to notice that I was drawing in the margins of my notebook - no great works of art, to be sure, but I believe that it says something about the mindset necessary if we are to improve our abilities. We must draw constantly (or sculpt, or paint). Practice is the surest path to improvement. Drawing must eclipse all else. It will always be easier to watch television, or read a book, or even write a blog than to put in the necessary time practising. But I know of no other way: practice, practice, practice.

Draw without ceasing; never concede. Draw, even when you can't draw, your mind as your pencil, your memory the paper.

The Study: Foundation of the Creative Process.

Michael Whynot. Head study, 2013. Red chalk.

Design, or as it is called by another name, drawing, constitutes the fountainhead and substance of painting and sculpture and architecture and every other kind of painting and is the root of all knowledge.  (Michelangelo)


Just posting a quick head study (3"x4") done this morning in preparation for a clay figure. Sometimes it is faster to find the pose in chalk than to work directly in the clay. There is such an economy of effort with drawing which allows the artist to explore a range of possibilities he might otherwise neglect. And, it is the process of exploring different concepts in the drawn form, from which can spring a totally unique idea. The act of creation is mysterious, indeed, but I believe drawing plays a fundamental role.

When God created man, I like to imagine that He began by first exploring His concepts for the human form through a series of loose, preliminary drawings before ever committing them to flesh and bone.

Fascinated By Faces.

Michael Whynot. Facial Study, 2012. Red chalk.

Leonardo Da Vinci. Head of a Girl, c. 1483.

Rembrandt van Rijn. Self-portrait in a cap, with eyes wide open, c. 1630.

Pietro Annigoni. Mr. Rydy. Oil, 1949.

Gian Lorenzo Bernini. Innocent X

The aim of the artist is to represent not the outward appearance of things, but their inward significance. (Aristotle)

A face is not well done, unless it shows a state of mind. (Leonardo Da Vinci)



To be fascinated by the form of the human face is to be fascinated by emotion - for it is through the attitude of its anatomy that emotion is conveyed more readily than through any other part of the body (see my post on hands and feet).

The face is a complex form, made more so by the extensive variety of expressions produced by the facial muscles, and may take the artist years to master.

Structure and likeness are the two aspects of the face most easily studied. Likeness is all about comparative measurement, one feature against another, and, as such, can be distilled down to a mechanical process. And structure is built upon the skull - the boney foundation of the face - and lends itself to anatomical study.

But careful measuring and understanding of the form, while producing an accurate rendering, is not enough. The result may prove unsatisfying if the artist ignores the, less tangible, aspect of emotion; state of mind; expression. The artist must endeavour to understand the state of mind of the subject if they are to produce a work that is more than run of the mill.

And here is where many of us falter, since rendering a state of mind has no easily studied rules and does not lend itself to learning or teaching.

But, having said that, I believe that a fundamental interest in human nature is a fine jumping off point from which to embark. Also, time spent watching the sitter (no measuring allowed) will prove beneficial. A final tool (which you may or may not be able to cultivate) is a sensitive temperament, a trait I believe can be nurtured only by studying yourself, not the sitter. But, when taken seriously, the rewards may be manyfold.

A great work of art is universal, for in it, sitter, artist and viewer each glimpse themselves.