Part 1
Figure Study Using Line (A1) – seated model in upright chair
Having already drawn my daughter in this position I was keen to return to this subject for this exercise. I looked at the range of photos I had taken of her when she was home from Uni at Christmas. I was also considering what medium I could use for this as I was aware the brief was calling for some inventive thinking: ‘be inventive in your approach and in the materials you use.’
I had some large pieces of cardboard I had been saving, hoping to use for a suitable exercise. I thought I could make a feature of the (corrugated) lines in the cardboard for this ‘line’ exercise.
My initial thoughts were of white lines on black cardboard. Should I use acrylic pens for the lines or paint? Should they be white, or gold or silver perhaps?
With the torn, exposed parts of cardboard, should I highlight them in some way or just leave them? Could I create more ‘faux’ lines with torn paper applied to the cardboard? Should I score or impress additional lines? Thinking of adding papers to a background, I remembered how I was so struck by the work of Edinburgh artist Lucy Jones with her mixed media style buildings. Would something similar work for this?
I think, reflecting now, knowing of the sandstone colours and brown papers Jones uses helped me make an association with her work and the colour of my cardboard. Her work is largely line, but does rely quite heavily on colour and tones too. Much as I am keen to explore her style more in different contexts in the future, I decided that this is not the right exercise to do this as this subject of a single figure on a chair might not lend itself so well to this approach. I feel the addition of too many textures and other background information would distract from the main subject.
Continuing then with my initial ideas I searched out the photos I had taken.
I wanted to fairly consider them all and try to be creative in thinking about which ones might work if they were cropped.
Could I do the chair in a different colour or media to make it seem less significant… grey chalk, silver acrylic pen, grey acrylic paint, white pencil, all to contrast with the planned white lines on black?
I ruled out the photos where I could not see Rosie’s legs.
Making a start I experimented by just drawing some thumbnails with white pen on black paper for the three poses that I liked the best (3,4 and 7).
What should the lines look line: thick, varied, broken, solid, varying, curvy, thin, continuous… How could I create an edge line when the edge was delineated by light? Should I ‘shade’ the background with lines?
Whilst reflecting on these sketches, I drew a rough square around one of them to see if it would ‘crop’. I found I liked the image partly surrounded by the square. Maybe this was something I could explore further. So many ideas all at once and trying to capture them in writing before the next one appeared and then acting on them all was exciting.
Exploring the corrugation lines, and background lines further should I create some toned lines from left to right vertically across the surface. Should they be patterned, and should the lines on the floor go in a contrasting direction. This was getting very busy and distracting from the image. I returned to a simpler, but more stylized version.
I like the composition, and feel it would be ‘fine’ for an exercise, but as an assessment piece, perhaps it does not show quite enough of the figure.
My next idea was to make a digital drawing of two of the poses and play with the images that way. It would allow me to explore more options quicker and readily alter the scale of my drawing for future ‘mock ups’ and explorations.
I created two basic line drawings of each of the poses I was still thinking about using.
Looking back over the ideas already, I returned to the pencil square I had drawn around an earlier white on black sketch. I experimented digitally with that:
I really liked this idea of the blue of the background being the same as her clothes, and the rest being white. It reminded me of Patrick Caulfield work. Now I felt that the direction was going somewhere more interesting.
I experimented with the other pose in my sketchbook to see how that might look on cardboard using a variety of lines.
I like the idea of the negative space and no detail on the chair. I do like these curvier lines, and the lighter lines on the faraway edges to help suggest the 3D form.
Using the second version of my model I did a couple of small mock-ups. Unfortunately I did not have white gesso and so had to use the light burnt umber version.
I appreciate the scale of the corrugation is overly large, but I think this has potential.
I like the blue background, although I did consider other options. The cardboard is a warm brown. I wanted a cool, light, fresh, vibrant colour, and also this contrasts with the skin tones.
The stripy, lined effect in the paint application is something I think I will pursue.
This Patrick Caulfield image ‘After lunch’ uses similar tones and colours that work over the black lines like my digital image. I was familiar with this image from previous knowledge which influenced my thinking when I was forming the digital image.
The Tate states:
‘Caulfield’s paintings are figurative, often portraying a few simple objects in an interior. Typically, he used flat areas of simple colour surrounded by black outlines. Some of his works are dominated by a single hue.’ (Tate) And another relevant quote from a gallery showing his work under an exhibition called ‘Made in Britain’ featuring several artists
in 2019 is:
‘Over the years, they [his artworks] became increasingly reduced, schematic and direct. Formal considerations were his primary concern. They focus on the relationship between a clearly defined form and a strong, nuance-free colour.’
My version, so far, shares that criteria. However, for my purpose I feel my version is a little dated perhaps and I want to try it now with a variety of line widths to distance it a little more from the Caulfield style.
This version pulls the outline forward, and pushes the fabric lines and the chair outlines backwards which was what I was after. However, I know I do not want a black line around the square and I want to explore a more textured square emphasising the idea of lines even in the block colour.
Meantime, I was also keen to look up some other artists known for their line drawings, and found some really interesting pieces of artwork from Warhol (Telegraph).
I liked the quality of his line in this. Apparently this is the ‘blotted line’ technique:
‘Warhol would draw freehand or trace a drawing in ink on a piece of paper, which he would then ‘blot’ onto another…Carefully retracing the same drawing, Warhol could make several more ‘blots’ to repeat the image – in effect a series of prints’. (Hartley)
In the same article was this drawing. I really like how it is one drawing and yet not. I like the blocks of different colour and the slight disconnect between the pieces of paper. Perhaps I can reflect an aspect of that in this work? I could create a third colour as if it is a torn shape behind part of the image?
What colour would work… a brown perhaps? Just a hint of warmth and yet also linked to the muted burnt sienna background and the colour of the cardboard?
Dare some of the tears encroach into the figure itself? Should I tear the paper before drawing the figure to allow for that element of risk rather than contriving the tears to fit conveniently around the figure?
I only have one big piece of cardboard with the corrugations running vertically. The others all run horizontally and I would prefer not to have to use those.
I was also pleased to find this picture in my Warhol book, as it uses a variety of line (and a little tone) and a similar colour scheme to the one I am considering.
My first thoughts are that I might use gouache paint as I have a lot of it. However, I don’t really understand how it works or how it is different from acrylic paint and watercolour. I experimented with Prussian blue and a lighter tint of it and found that it was much more like acrylic, and not as I had hoped, like an opaque watercolour. I could not get it to achieve a smooth blend. As I tried to blend, it lifted the existing colour off the page. I was quite disappointed. However, it is probably a good medium to work out roughs.
These continue the gouache experiments and the line effects I am hoping to achieve in the background. The third one also experiments with another block of colour.. Perhaps, rather than a solid block of colour I could give it a torn edge like in the Warhol drawing.
.
Having made a special trip to the art shop to purchase some more white gesso, I tried what I hoped was the final mock-up.
Whilst I really like the stripy blue effect, the whole image does not work. The white is too stark. Ironically, I prefer the softer burnt umber background of the earlier editions. That colour allowed the skin to stand out more effectively. I think the additional segmented brown area (inspired by Warhol drawing) idea works well, although the essence of the torn edge is lost, and would I rather that the trouser leg remained blue? I am not sure yet.
This now is my final mock up. Of course the cut out figure is over the top of the tear in the middle. I tore the sheet before positioning the model. I intend to do that with the A1 sheet too. I am not sure if there will be a tear in the middle of the model yet I will have to see how it is working.
I still like the idea of the second block but the brown square should be more burnt umber than the burnt sienna tint it is here. I would also want to see more of the torn edge. Perhaps this will be more evident when the figure is drawn directly onto the cardboard rather than using the cut out here.
I do want to create lighter lines for the creases of the fabric. I don’t yet know what medium I will be using. To try out various charcoal blocks and pencils I drew some marks on some gessoed cardboard. I wanted to see the quality of the lines, whether they would work with water added, and when they are smudged with a paper stub, and finally if, when sprayed with a fixative they would ‘stay’.
The Pitt round compressed and the Derwent Dark gave the best results. I also have some brush tipped pens in tones of grey I am keen to try out if necessary.
Anticipating that the large cardboard would warp if I applied paint just to one side, I painted the rear of the board with some white household white paint. Once that was dry I turned over the board and began to peel off the top layer of cardboard where I thought it would work best. Not having the image there meant I had to ‘guess’ where the tears would work. I was nervous about the tears in the middle and upper left edge of the picture, but had resolved to take a chance with it. Of course, there was scope to still manipulate the position of the image if necessary.
The next stage was to apply the white gesso and leave the board to dry overnight. In the morning I applied the toned gesso and then taped the board with masking tape so I could create the blue square. I was conscious of creating the vertical lines with a kind of dry brush effect.
I was a little disappointed as the board dried that it was quite as warped as it was.
I lightly drew up the image of the figure and chair on to the board with a charcoal pencil. At this point I decided to add an extra set of corrugated rips that would just encroach upon the right arm.
The white paint was the next stage, and it took a couple of layers to get that looking solid. Of course in applying the paint media, many of my charcoal lines were covered and I had to redraw parts a couple of times.
I also added the torn paper stencilled brown paint that was inspired by the Warhol image. The colour was more in tune with the existing colour scheme than in the rough. I hadn’t been sure whether to have that as the ‘top’ layer until I painted it and saw clearly that it needed to be this way. Any other variant would have diminished the significance and presence of it.
Using an acrylic pen I then began to draw in the varied thicker black lines. I recognised that the thinner acrylic pen I had would be effective for creating the thinner fabric detail lines at this large A1 scale and I did not have to consider the condensed charcoal or brush pens after all. These lighter lines take on a lighter colour effect. The chair negative space is also outlined lightly with a thin acrylic black pen just to define the edges.
The final image is very different from my initial ideas. I enjoyed how my plans evolved and how looking at the work of other artists impacted my considerations for my own work. This is a very different piece of artwork from anything I have done before. I know the drawing is still relatively ‘tight’ but I feel the stylised form works well in this context as a ‘line drawing’.
References:
CAULFIELD, Patrick (2019), From ‘Made in Britain Exhibition’, Patrick Caulfield, Works of Art [online]. Galerie Boisseree. Available at: https://www.galerie-boisseree.com/en/artists/patrick-caulfield.html [Accessed 20.1.20]
CAULFIELD, Patrick, (1975), ‘After Lunch’, [online]. Tate. Available at: https://www.tate.org.uk/art/artists/patrick-caulfield-873. [Accessed 20.1.20]
JONES, Lucy, (2018), ‘West End Railings’, [online]. Lucy Jones Edinburgh Artist. Available at: https://www.lucyjonesart.com/artists#/julien-clarke [Accessed 22.1.20]
WARHOL, Andy, (2013), ‘Unseen Warhol drawings have given fans ‘the history we always wanted’, [online] Telegraph article by , Alice Vincent, 26 Jan 2013,. Available at: https://www.telegraph.co.uk/culture/art/art-news/9823330/Unseen-Warhol-drawings-have-given-fans-the-history-we-always-wanted.html [Accessed 20.1.20]
WARHOL, Andy, (1986), ‘Statue of Liberty, 1986’ (fig.82), ‘Warhol: A Celebration of Life … and Death’, National Galleries of Scotland, 2007, by Keith Hartley, Published by Trustees of the National Galleries of Scotland , Edinburgh.
Part 2
Figure Study using tone (A1) – Reclining model
The starting point was with a series of photos to explore position of the model, composition and lighting conditions. From the 50 or so photos, these were narrowed down to around 16. I selected some of these 16 to do small thumbnail studes to explore them further. From these, I was able to narrow my selection down to just 2. These were selected because of the effect of lighting on the model, areas of contrast that would work well using a monochrome medium and the composition within the frame.
I tried a couple of loose larger sketches to explore these poses further and to try out a couple of different possible mediums. The image I preferred, again, was not the one I suspected I would chose beforehand. This is the second time this has happened in this assignment. That truly drives home to me the importance of exploring a couple of different options before committing to one particular composition above another too early.
I tried a selection of charcoal based media. Vine charcoal. It is simple and quick to apply and blends easily. The blacks are not as dark as I would like.
The second used the Derwent XL blocks. Although my initial response to these as a medium is one of disappointment, I will try again with them at a later stage for different work. This small scale work was not really suitable for them, but it was the effect when water was added that I liked the least.
The third image used Derwent compressed charcoal blocks, which I experimented using with water. There is an interesting range of tones and marks in this media.
The fourth drawing was a quick sketch using the Derwent soluble blocks and charcoal pencils. It is good to have the two versions of these that work together, and I think there could be some interesting mark making possible with these two sets of drawing media.
Almost as an after-thought I decided to draw up my second choice image using Pitt compressed charcoal blocks. However, I quickly began to see that compositionally it was a more interesting, dynamic image than the first one.
The figure was more of a presence in the space. There were more interesting joined up blocks of dark and light tone to unite, and ‘frame’ the image. I felt the shoulders were highlighted and shone against the negative spaced dark tone at the edge of the bed, and the edge of the head was almost swallowed into the darkness. The foreshortening played a major role in this image with the foot and long legs taking up the whole bottom half of the picture, pulling the viewer into to the frame. I also liked that the ‘reclining’ pose was a portrait orientation rather than the more obvious landscape one.
I have gathered a wide range of charcoal pencils and blocks and am drawn to buying another block or two when ever I am near an art establishment. Consequently I felt overwhelmed by my options. What did each charcoal do that was different or better from the next, and if I wanted a particular effect, which one should I chose. I was also unsure of what paper to use, although in fairness, given that it had to be A1, I was limited in my choices of available options.
I had some brown wrapping paper, some pink cartridge paper, some HP Not Bockingford painting paper and a roll of wallpaper lining paper. I did some tests across all of these. I wanted to know about the tone and density of colour, how well it applied itself to the paper and did it blend well and give a variety of tones. Considering this was to be an assessment piece and not just a quicker exercise I wanted paper that would hold the medium, allow it to blend, and have a good range of tones. It was evident quickly that the brown paper was not a suitable surface. The tones were not dark, and there was not sufficient tooth in the medium to hold charcoal for this task.
The lining paper never really allowed for dark darks, but more significantly, the charcoal did not blend once it was applied. (It is the bottom paper in this image). The Bockingford paper worked well enough but I the cartridge paper had the best tooth, best tones and best blending capability.
As I stood back and reflected on my experiments and my preference for the cartridge paper I also realised that being a coloured ground, perhaps it would also take white media. I was delighted to find it did, and it took it well.
Unfortunately this pink paper was all I had. It is not a colour I would have chosen, but necessity meant it would have to be the one I used if I wanted cartridge paper.
I gridded up both my photographic image and my A1 paper. I knew without this I would have trouble acknowledging how big the foot was and how long the legs. The foreshortening is so marked that I knew I would doubt my drawing without it. Even with the grids, standing back and looking at the drawing without the photo, the feet and legs looked ridiculously large.
As this drawing was about tone rather than line, once I had drawn up my lines and worked out where everything would be, I used a putty rubber to remove all but the lightest trace of lines.
Taking advice from books on figurative drawing I have been reading (Aristides, Ryder, Woods) I worked from a mid-light one, then to a mid-dark tone.
Then, I went back to build up the highlights, before working up the darker tones again.
When I was happy that the tones were in the right places, then I began blending using a torchon, and reapplying highlights and darks where appropriate.
I did pause and wonder if I should leave the charcoal unblended as Kathe Kollwitz had done in her self-portraits. However, I decided that this was a different scale of drawing and it was not just a ‘quick sketch’ but a drawing that had taken an extended period of time, and I wanted the finished result to reflect that. However, having decided to blend I was conscious to try and not over-state tones and lights and to make the transitions as smooth as possible. I was also conscious of avoiding line at every stage, and wherever possible used the sides of the charcoal and chalk sticks from the earliest stages of the drawing and all the way through, rather than the thinner drawing ends of the sticks. I tried to suggest form by applying the charcoal in sweeps around the limbs to echo their curvature.
I hope that I have captured the relaxed nature of the pose and I hope the suggestion of the ripples of the fabric serve to support the body in space rather than compete with it.
I do like how toned paper gives that ability to start in the middle and work outwards to lights and darks, rather than having to hold back the whites when using charcoal on white paper. I am keen however, to get some different toned A1 pieces of cartridge paper.
Feedback from my tutor prompted me to redo this whole sketch.
TUTOR: The Second drawing of the reclining figure works well on the difficult magenta background. And looking at the series of drawings I appreciate the difficulties with foreshortening but it seems to have become exaggerated in your picture with the left foot the size of two heads. I’m not sure if this has been done with the help of a photograph but you have to be careful of photographs taken with mobile phones for example because they introduce a great amount of distortion through their use of wide angle lens.
My response: I was conscious of the difference in scale between the feet and the head, and indeed, on your advice I have reworked this part of the assignment. I took more photographs of my model from a greater distance which has overcome the distortion that is evident in this initial submission. I will take account of this factor in future when relying on photographs of models. The difference in the second attempt is really noticeable, and I am much more pleased with the new finished drawing. The ability to highlight the white vest on white paper, is not so effective as on the pink, but the drawing is more sensitive and less distorted than the first.
REFERENCES
ARISTIDES, Juliette, (2006), ‘Classical Drawing Atelier’, Published by Watson-Guptill Publications, New York.
ARISTIDES, Juliette, (2019), ‘Figure Drawing Atelier’, Published by Monacelli Press, New York.
RYDER, Anthony, (1998), The Artist’s Complete Guide to Figure Drawing’, Watson-Guptill Publications, New York.
WOODS, Bridget, (2010), ‘Life Drawing, A journey to self-expression’, The Crowood Press Ltd, Marlborough
Part 3
A portrait of self-portrait combining line and tone (any size)
Whilst I had been finishing off the tone drawing from the previous section I was already thinking about the portrait and reflecting on what mediums I might use. I am also, at this stage thinking that my Part 5 research might be related to portraiture as I am very interested in developing that aspect of my art making. With that in mind I have been looking at a lot of portraits and gathering possible artists names and artworks in another document. My head was full of thoughts and ideas.
Nonetheless, for this part I knew I wanted to create an image of my husband. I took a selection of photos in different lighting conditions and once again narrowed the large number of them to around 12. Printing these I was able to look more closely which ones would work best, and then narrowed these down to 4. I explored what these would like using coloured pencils. I had been reading a book on colour and took some of what I was learning from that to create some thumbnails with colour explorations. (Hornung)
Whilst exploring these colour options I also found that I preferred the image of my husband looking over his shoulder. It seemed more dynamic, and the others were more static.
I also found that I infinitely preferred the cooler colour palette. I wanted to limit the range of colours I was going to use, to create more of a sense of unity in the picture and really explore blending.
My next consideration was which media was suitable for a larger scale of work. I wanted to try Carbothello chalk pencils, so I transferred an image of the photo to some pastel paper. I transferred the image by putting chalk on the back of the printed photo and then leaning heavily onto the paper with a 4H pencil. It meant that when the image did lightly transfer, the paper was quite indented with the lines I had drawn. This created an interesting effect and I wondered if I could maybe explore the effects of lines in the drawing other than just face contour lines.
I had previously seen the amazing portrait work of Scottish Artist, Douglas McDougall.
Smith describes his work as: ‘Incredible hyper-realistic charcoal drawings of weathered faces that are even more detailed than photographs’.
Whilst they are really beautifully drawn, I find the images a little menacing, intimidating and even aggressive. They are largely decontextualized close ups of part of a face. I think the proximity of the viewer to the face is part of what makes them intimidating, and another part is in the types of characters he has chosen to represent. It is not just their skin that is weathered, but you feel, through the lines, the lifeless, often weary eyes, the apparent lack of self-care suggested in some of the images that they have not had, nor are having, lives of contentment. The ones I have seen have all been older male faces.
What I did find particularly fascinating about them though is the marks within the faces. He scratches and carves them out somehow, but they are incredibly detailed, intricate and hypnotic. I wondered if I could make some connection with this in my portrait. I was encouraged by the carbothello effects exploration, but wanting to draw larger I thought it might be an opportunity to experiment with my new Derwent Inktense Blocks. I selected a range of colours that most closely matched the carbothello ones.
I was disappointed to discover that there was no way of putting a lighter tone over a darker one with these Derwent Inktense blocks. It was not like using pastels, and the only way to achieve light tones over darker ones was to put ‘white’ down first and then put the colour you wanted on top of that. It meant an over-dependancy on white, and a compromise on the colour I really wanted. It was really wearing and at an early stage I nearly decided to stop this exercise as I felt it was a lot of hard work and I wasn’t sure I was getting the effect I was after. Nonetheless, I persevered on.
The blocks did not glide onto the surface as I had anticipated. They were quite resistant and their mark making was not as fluid as I had hoped. I think I thought they would be chalky, vibrant, water soluble blocks. They are much harder and more waxy in feel. The colour reference numbers on them are also small, blurred and very hard to read, and of course, this will get even more difficult with repeated use. Some of the stick colours look very close in colour and tone to each other and the stick colour is not necessary a good representation of the colour it lays down on the paper. There were also very few skin tones. There was less capability to blend than I hoped so it was more about laying thin layers of colour on top of each other to get closest to the colour I wanted.
Nonetheless, I was pleased with the way the line pattern worked through the drawing. It was quite a primitive pattern by comparison with the work that had inspired this development but it does create an interesting visual texture. On reflection I wished I had just used the pattern on my figure rather than carrying it over to the background too.
So, thinking I was finished this task, I returned to check the requirements of the exercise, and realised only then that this exercise required ‘line and tone’. Arguably there is line in the texture, but the ‘tone’ aspect does not fit. Ironically, the cool, blue tones of clothing and background are relatively monochrome, and could be seen as ‘tone’, but these contrast to the warm flesh tones and do not make this artwork appropriate for this exercise. I think with my focus moving towards ‘portraiture’ for my Personal Project I had lost sight of the requirements of this task.
Nonetheless, I knew the knowledge I had acquired about creating these studies and this drawing would only help me with reworking this image as a line and tone format.
My first exploration for what media to use went to the Derwent Ink Tense pencils. Perhaps I could put thin layers of tone down, wash over them and build up the next layer. I took some A3 200gsm ‘heavyweight cartridge paper’, laid down the first layer of tone, and washed over it with a layer of water. Even as I did this, I could see the paper was struggling to take the water and not buckle. I could see this was not going to work.
Using a sheet of mixed media paper I drew up another image and this time experimented with using a black edding pen to lay down tone in lines and then wash over it with water. This, I could see was not going to be successful. The marks were crude and the image looked very primitive.
However, I do know this process can work, although I have never used it for anything other than on buildings, and certainly not on a ‘living’ subject, or one quite so large. It would be a big, scary jump to try this for this context. Buildings are much more forgiving! So, I took a break and reflected on my next steps.
I decided that I had pretty much ‘scribbled’ the edding pen attempt as I was so agitated that I had ‘messed up’ following instructions with my coloured portrait. I decided to draw up a larger, A3 scale version and have another go, with more intentional mark making.
I decided that I had pretty much ‘scribbled’ the edding pen attempt as I was so agitated that I had ‘messed up’ following instructions with my coloured portrait. I decided to draw up a larger, A3 scale version and have another go, with more intentional mark making.
I got a sheet of Bockingford HP 300gsm paper and started once more by laying a layer of fine tone with a Derwent Intense grey toned pencil. This time I just laid the tone on my figure and not the background.
The first marks I made were detailed and tentative. Picking up the brush with water I stood and paused wondering if this was going to work and could I do it for a whole drawing. However, there was nothing for it and I had to ‘go for it’. Part of the eye socket was blended. It looked ok. Then, a bit more drawing, a bit more ‘washing’. As I could see the effects of the blending, my mark making became much looser and bolder.
For the face I stuck with using the same two edding fineliner pens. One was running out, which was effective for lighter tones, and the other was easier to use for the blacker areas like the hair. It was fortunate I didn’t try and use a thicker nibbed edding black pen I had at this point. However, I did pick up the big pen to tackle the blackness of the sweatshirt. I very quickly realised that when this pen was painted over with water it gave off a green hue as opposed to the blue-black of the fineliners. This was perfect! The top was a greeny blue ironically, but more than that, it emphasized the different textural quality of the clothing in both mark making and colour.
For the background I was keen to keep to this very monochromatic like palette, especially after my earlier errors. I thought a dark indigo Derwent Inktense pencil would create a subtle contrast to the existing colours, textures and tones and would push the curtains behind and into the background. The stripes attempt to capture the essence of the draped fabric without it competing with the focus of the portrait.
I am happy that this final attempt does indeed now meet the requirements of this part of the assignment.
References:
HORNUNG, David, (2012), ‘’Colour 2nd Edition: A Workshop for Artists and Designers’, Laurence King Publishing Ltd, London.
McDOUGALL, Douglas (2013), ‘Charcoal Inspiration: Douglas McDougall by Dannette K Seward’, [online] Nitram Fine Art Charcoal, available at: https://nitramcharcoal.com/charcoal-inspiration-douglas-mcdougall/ [Accessed 2.2.20]
McDOUGALL, Douglas (2013), ‘Incredibly hyper-realistic charcoal drawings of weathered faces that are even more detailed than photographs by Jennifer Smith’, [online] Mail Online available at https://www.dailymail.co.uk/news/article-2401365/Scottish-artist-Douglas-McDougall-creates-lifelike-portraits-friends-using-just-charcoal.html [Accessed 2.2.20]
Cathy's OCA Drawing 1 Blog 