Cameron Bailey

A selection of my recent work, drawings, paintings and art related studies.

Figure study, Week 4. Work in Progress
I struggled to connect the forms giving the four planes of the ribcage where it connects to the forward tilting pelvis. I find the movement between the light face of the back and the lightface of the pelvis the most interesting part of the pose and the part I most hope to capture.
I have one more session with the model, hopefully I can come to some sort of conclusion.
Pepper study
Graphite, 10 x 6.5 inch
2014
A quick value study from Evan’s class. I used what I learned here as a basis for the lemon drawing. I think I actually like this one better, even though it was done in about half the time.
Work in Progress after a 3 week figure drawing session. 
I am learning much better pencil control and coming to conclusions in the figure alot quicker than the last session.
This model has wonderful musculature. Her darker skin limits the amount of tones I have access to in the drawing presenting a fun challenge. I have two more sessions, I hope to finish the drawing by then.
Lemon Study,
Graphite on paper, 8.5 x 6in.
2014
I have been taking classes with Evan Kitson at the Teaching Studio of Art in Oyster Bay, NY. Evan teaches a method of drawing, that although sees counter intuitive at first, can produce some beautiful results.
Masses are created by “triangulating” corresponding angles throughout the forms with long pulled lines that help immediately set relationships between the forms and the overall composition. 
After setting the shadow forms and the third contour Evan taught us to carve out the planes of the form, carving in the darks and carving out the lights.
I used to find still life very boring, but going back to basics and concentrating on form has been very enlightening.

Lemon Study,

Graphite on paper, 8.5 x 6in.

2014

I have been taking classes with Evan Kitson at the Teaching Studio of Art in Oyster Bay, NY. Evan teaches a method of drawing, that although sees counter intuitive at first, can produce some beautiful results.

Masses are created by “triangulating” corresponding angles throughout the forms with long pulled lines that help immediately set relationships between the forms and the overall composition. 

After setting the shadow forms and the third contour Evan taught us to carve out the planes of the form, carving in the darks and carving out the lights.

I used to find still life very boring, but going back to basics and concentrating on form has been very enlightening.

Another drawing from my sketchbook, about 5.5in x 10in.  this time a little more rendered
I am in between class sessions right now, so access to a model is limited. Another drawing using photographic aid, I tried to concentrate on  breaking the figure down to shapes, and then rendering those. This drawing overall is rather small, so it was difficult getting the detail i wanted in the figure.
I really enjoyed the movement of the pose and I wish parts of the figure where more fluid. Its difficult to balance structure with the bodies natural rhythm.
Another page from my sketchbook
I like to try to do one quick figure study every day. Some are from life, when i can get time with a model, other are from modelling stock photos.
I generally dont like the idea of using photos, but for smaller quick studies, they allow me to get practice constructing the form and building rhythm that should help me when I’m in front of the model.
Work in Progress on a larger figure drawing over 6 sessions.
Graphite on paper
I keep fighting with my paper at this point because i originally laid down too light of a shade for the darks and the paper doesn’t want to accept a darker graphite. 
The paper is only about 90lbs weight. I wish I would have used a better quality paper.

A few more sketchbook figure studies. One focusing on skeletal structure and the other on major shadow shapes

Another recent page from my sketchbook, combining rhythm and structure in a standing pose.
10 minute rhythm figure drawings
In these quick studies, I was trying to both understand the anatomy of the pose while keeping the flow of the movement.
I should make an effort to do a couple of these a day, they where fun and I think helped me practice line quality.
Head Study - Work in progress Week 3.
This is the progress on my portrait study after about six, hour and a half sessions.
 I am trying to learn how to model the forms while still keeping the details I have already found. I realize that i should have created a more coherent structure lines in the very beginning of the drawing to give the entire drawing more movement. 
I still need to work on modeling the mouth and giving the skull more “turn” from the light side to the dark.
Head Study - Work in Progress
This is a work in progress of a head study I have been working on that last 2 weeks. I have been taking figure drawing classes with Rob Zeller @ the Teaching studio of Art in Oyster Bay, NY and our lectures on anatomy have made me want to re-examine structure and planes.
I want to continue to figure out basic shadow structures in the drawing. I have a bad habit of getting too involved in specific details while not realizing the overall structure is incorrect.
Amanda
8.5 x 11 in.
Graphite on Paper.
Finally finished the Amanda portrait. I was having a difficult time trying to figure out the composition of the neck line and shoulders to fit to the page. 
My goal for this drawing was to create movement and develop the “turn” of the planes of both the face and the shapes of the hair. I always have a difficult time getting all of the plane surface information I want to capture without overly flattening the image. I have been trying to fully map out the structures of the face before i get involved with any surface details or tones.  Its a fine balancing act between structure of planes and the wonderful little surface details, such as the shadow cast on the checks from the glasses, and the highlights on the curls. 
It was a fun portrait, but I’m happy to be done.
Amanda
8.5 x 11in.
Graphite on paper.
Not sure if this portrait is finished. I worked from life for a total of 5 hours, between two sessions. I would like to make a connection between her curls and her shoulders. The hair really wore me out, and i think i get overly paranoid trying to capture an absolute likeness instead of using the model to create a piece that I find interesting. This may be because of my close personal relationship with the model making it difficult for me to distance my self from the image.
If i work on it some more I will post more pictures.
3 hr Reclining Nude line Study,
Graphite, 24 x 36 in, 2013