This fine little book is like a "How To Go About It" for
both beginning and continuing artists, though it is NOT a
"How To Do It" book. It is simply that this artist, in
making her sketches, in her own way of seeing, reveals so
much about how one might go about doing Life Drawing.

First of all, Ms. Chapel is an excellent artist. Her
drawings are informed by an obvious understanding of
anatomy. I suppose that at this point I must warn some folks
who might have some objections that the drawings here are
based upon nude models, both female and male, as employed
in Life Drawing classes of the better art schools. Even
with a draped model, any serious artist must know what lies
beneath. She or he must know what bones, muscles, dynamic
and structures lie beneath or the drawing or painting in
order to tell the truth. This is a real necessity for any
serious artist who approaches what is, arguably, one of the
most complex, challenging and beautiful single subject in
all realistic art. How else can one learn, except by direct
observation?

Beyond this, what I like most about this book is that here
we can see an artist THINKING. On page after page she has
chosen a particular focus, something in particular that
interested her that day in each of her models, and develop-
those areas, letting a full composition of the page evolve
from these. Some are in sensitive line studies and most of
them open up into what is sometimes called, "empty space."
But these openings are anything but empty. They are fully
as important to the complete composition as the more fully
defined areas. She is often at play. As she tells us in her
clear, unaffected and sparse statements, she has used the
first focal points as jumping off places from which to
develop a full drawing. Space is not empty. It is a vital
and energy filled part of the drawing. In some cases the
artist has shown herself experimenting further with various
other media, and this gives rise to all kinds of ideas and
possibilities for the attentive viewer. Occasionally she
uses color, but sparingly, since the point here, for her,
is drawing.

Yes, I do have one problem with the book. I want more. This
is NOT because it, as a valuable source, is not well-priced,
but because I just wanted more. Maybe out of my own lazi-
ness in not simply going ahead and trying some of the many
possibilities and ideas that the book inspires. Maybe I
should just get to work and try some of them. But first,
I think I'll simply get some to give as gifts.

Jenny Hunter Groat
April, 2007