Here are the promised drawings — everything I did on Friday, with some thoughts on how I made them and what I think of them. Click for somewhat larger lossless version.
I got started with some contour in a two-minute pose. Afterward, someone asked if I had been doing a blind contour. It wasn't actually my intention to do so.
Two tow-minute poses, still contouring but getting better with proportions and connecting my contours back to themselves. I like the legs here.
Another two two-minute poses — the legs are a standing pose, with the model holding a pillar for balance. For two minutes. Our model was going the distance, evidently. The study of her face turned out pretty nicely, too.
Heads are still tricky for me when not disembodied, it seems. This was the first five-minute pose, and I tried out some shading but this one didn't come together all that well — too boxy, not enough range of density, and the head looks out of place.
I contoured like crazy with my hunk of compressed charcoal (up to now, it's all conté pencil) and put in a bit of shading on this five-minute pose. I think it worked out pretty well. I decided to keep the compressed charcoal contours for many of the subsequent poses.
This was actually more like three and a half minutes, because I ditched a start I didn't like. It's different and was lots of fun to do. People have darts and wedges all over the place, especially when lit for figure drawing. I'm not sure I realized that before Friday.
This one was hard for the model to hold for the five minutes (she was bending forward with arms out in almost a circle, and I was getting a little lost. It feels like a more nervous drawing than some of the others, and has its charm, I guess, but I don't think it really holds together.
I found that my conté pencil was too dull and scratchy sometime in here, and also that it's fatter than a normal pencil and doesn't fit the sharpener I borrowed, so there is some regular pencil in here with the conté and charcoal. It turned out pretty well anyway; I like that I built up a few levels of shading. This was our one ten-minute pose.
This one was an interesting pose — the model leaned her legs up against the pillar. I feel like this was my best embodied head of the evening, too. It was the first of three twenty-minute poses. The shadows on her back thigh were tricky; a bunch of light sources made for finicky shading. Also, it's amazing how many rolling hills there are in a human body when the person is lying right.
I kept going with the same technique, but I think I have to remember to be brave and start at least outlining the head early. Both bad heads result from trying to stick it in late in the pose. Be brave, self! Go for the head! The rest of the drawing is pretty successful, I think.