I’ll admit some of my pages are quite the train wrecks. To wit: the first scan.
To those of you who’ve borne witness to my sketchbooks and been surprised to see the spectrum run from chicken scratching to clusterf@kkery, allow me to explain.
There are times when describing how I begin or develop a drawing to another artist, or student, the sketchbook is my podium, and I jot down my thought process right there, on the spot, in full view of another’s retinas. Not wanting to be ‘long winded’ as it were, (I realize, THAT runs against expectation), the doodles are pretty much whipped out and at times very much short of grace.
The 2nd and 3rd images are minimal, yet clear enough to get the point with the sketch in blue ink on yellow ledger paper showing the progression of a bent over figure, derived from a modeling friend on the left to the imagined scenario of a fight on the right.
After that we see a very cursory sketch of four people in green about a table with indication of an implied horizon line for POV. Pretty quick and loose in light green with follow up line work in black to give a tad more clarity, as in,”Okay, there you have it. Now y’all get started and let’s see where you take that in 30 minutes”.
After that we see a very cursory sketch of four people in green about a table with indication of an implied horizon line for POV. Pretty quick and loose in light green with follow up line work in black to give a tad more clarity, as in,”Okay, there you have it. Now y’all get started and let’s see where you take that in 30 minutes”.
Next up….uh oh, it appears Don not only displayed how to do a loose layout in a light Umber color followed up by dropping black marks on top to strengthen form and pull near features out of the background, but perhaps a touch of impatience also, eh?
Two more images show our pedagogue starting to use the same page for multiple lessons. Hang on tight, this could get confusing.
Now we come to a diagrammatic sketch of a bush. That’s more like it. Focused, with sufficient development to explain the incorporation of simplified geometry, developing form by building values, awareness of light source, and enriching surfaces with varied textures.
And after that…oh dear, he’s back at it, certainly demonstrating some of his trickier palm print for leather techniques, but those moire hatching patterns could mean our boy is adrift on one of his tangents again.
Thank goodness he’s returned to a simple linear layout of a house, I guess, and some kind of…like…machine-ishy gizmo whatchamacallit. We’ll like the text says, I guess you had to be there.
Now the blue panorama of the cemetery should be as self evident as the kid can get. Start light and general, work towards the specifics and develop the values. This was actually done, on site, for the benefit of a class. But you’d have to poll the class to get second opinions about the benefits passed along.
So the six sketches that follow demonstrate one thing in particular. That I loathe wasting good paper. The question of the merits of any given drawing here being set aside for the moment, I often go back into my demo pages, especially the minimally developed and sketchier ones and start to reuse, or repurpose, or transform, or crowd ‘em up. Especially if I’m on a bus and I’m frantically flipping thru the book to find the space to drop in a passenger’s head. Like the bearded dude’s noggin.
It can get pretty disjunct.
Occasionally, I’ll drop a drawing on top of some sketches that were minimal or light enuff that any early meanderings got incorporated into the whole with little evidence of pentimento, or prior being. Kinda the way I feel about reincarnation. With all the new input and distractions and constant jazz and extrapolating forays, how are you ever gonna recognize your way back to your old self.
Hunh?????
Mmmm, last up is a page that seemed to have begun one journey, jumped track, and rode away on an obsessive tangent.
Drawn with various medium such as fountain pens using Platinum Carbon Ink, DeAtramentis Document Black and Brown Ink, Faber-Castell Pitt Artist Pens, Polychromos Color Pencils, Gouache, and White Grease Pencils on ledgerbooks, and Clairefontaine notebooks, Goldline Watercolour sketchbooks, Stillman & Birn Nova Series sketchbooks.
Love this blog!!! Always, but I never say so. Just had to today
We’ll Mary, it’s very much appreciated!! ?
Same here , I never comment but this is just gob smacking amazing.
Ivana! Thank you, gob smacking is as good as it gets ???
Yes, I’m in agreement with Mary…Love this blog! and LOVE your art-style-energy! As far as the Cave Hill on site…FANTASTIC time and Excellent, enthusiastic teaching. I love when you come to Louisville and I can attended your class. I have a LONG way to go..but the information you gave me is a GREAT benefit. You took the time and helped me with my set up…I will [try to] make you proud when I finish the picture…looking forward to your brush kit being released soon…I will add to my stash and be able to finish the project with the proper values. Thank you…DRAW-ON!
Many thanks Kym for the kind words and the long trek to join us at Cave Hill. Post those drawings when you’ve completed them and be sure you have fun in the process. Cheers!!
Sometimes hard to decide which is more entertaining, your sketching or writing?? Love your art and appreciate that you are sharing these wonderful insights into your practice, much appreciated?
Happy to be part of the global dialogue thanks to the internet. Cheers Paul!!!
I love the way this gives us all permission to forge ahead on those pages where a 3/4 pose is drifting away from us or the guy looking down is part looking up. We all need this reinforcement to just move forward and keep drawing. Thanks for that.
Nice eh Ruth? Now instead of shuttering those wayward efforts, if not out right trashing’em, we can all look forward to those liberating and educating second efforts! Cheers!