Explore every episode of the podcast Croquis from Home

This session we take inspiration from Auguste Rodin, who was better known as a sculptor and artist, but, what about his life drawing sessions with his live-in muses? We read from "Auguste Rodin, Exotic Drawings" by Anne Marie Bonnet.

May, one of the organizers of Life Drawing Manchester, joins this week's session to talk about what it has been like to move their physical sessions to the online platforms we have all become familiar with recently. How has their dependancy on models changed? Life Drawing Manchester has bi- weekly croquis sessions often with a theme. Find them on instagram by searching for Life Drawing Manchester

At times, and specifically, more recently, William uses life drawing to compliment his poems. William is a decorated writer and poet who has found his way to life drawing. He focuses just as much on the emotions in the room as he does the human form. To learn more about William check out his instagram or website by searching for @williameatonworld

During this session, Sharon from Croquis Corner joins to teach us how to setup our rooms for a session. She shares her story of how life drawing helps her battle PTSD and loneliness. Sharon runs Zoom session weekly. You can find her on insta: @croquiscorner

Maria recently began working as a life drawing model. She found her way to it through a photographer and thought it was a good idea during quarantine. She uses her background in aerial acrobatics to influence her modeling poses. She gives advice and discusses how she prepares her poses before her sessions and builds a relationship with the artists who illustrate her. You can find her on insta: @whatifwefly_model

Ann Marshall is a full-time commercial artist working from New York. She joined us to talk about working quick, satisfying private clients and the transition from her art studies at School of Visual Arts to the commercial world of deadlines and e-mails. She can be found and contacted through her insta: @annmarshallart and/ or annmarshallart.com

Judith Yaws is a well decorated contemporary artist and maker who's practice was recognised and nourished by her mentors from an early age when she began winning awards for her depictions of life. She currently runs life drawing sessions in the USA and also online. She leads the second half of this session and talks about her practice, her biography and gives advice to our listeners. insta: @judithyaws, @lifefiguredrawing and lifefiguredrawing.com

Egon Schiele is the classic story of unrequited love. The tragic story of Egon's work and life is expressed in his nude drawings that are still highly referenced and influential to any person considering getting any form of expression in their work. In his short life, he made a vast amount of content and volume of life drawings, none of which were celebrated in his time. In retrospect, he is considered an artistic genius who developed a style all to his own.

We all speak a language, and our mother tongue allows us to communicate with our peers and families. However, the language of art history and the way in which classic art historical paintings speak is a learned methodology and/ or philosophy. By reading from a reference book for art historians, hopefully, it allows the listener to think about the way in which they use the page.

It is important to not ignore the background because it enlightens our human subject. What is behind the human figure is also just as interesting and important to measure the proportions of the figure. How do we use the background as a reference to enhance our drawings and make our shapes more accurate? Brandon reads from Adolf Loos' journal translated from German regarding 'good' design.

Continuing where the last session left off, we discuss the most important element of any life drawing session, shadow. It is how we turn objects, how we make shapes distinguish themselves from the background and how we express drama on the frozen page.

As all first sessions of anything, we need to start at the beginning, with the basics. How do we see? Why do we see that way? and how do we un-train the eye in order to see things as they truly are. There are no hardlines in real life. On this first episode we try to undo the way our brain interprets the human form.