Out sketching

Must send pics. Trying to get composition and foreground strengths.


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Portrait drawing - unseen tactile 1st few attempts

Range of marks one makes is interesting and contour based rather than tonal. Makes a line feel real. Love it.


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Another tactile unseen sketch

2b,3G and 4b pencil this is a good method to connect the two hands and I really enjoyed the Mark making. Next steps: with coloured pencils


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Contemporary drawing practice at the Lowry

Joining the artist group there to draw figures - a weekly session
Will review the OCA course in painting after that with the objective of taking my practice forward more productively.

Or maybe I will stray again into printmaking as I did some years ago. This radically improved my practice and vision.


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Layering marks and tones

Much more satisfying to work on and over my drawings than the Painting 1 course suggests.
On reading the Black Dog publication on drawing, I am so pleased that my original practices of drawing are more creatively productive than trying to draw stuff that is alien to me, such as looking out through a doorway. For me this doesn t say anything. I really dislike doing this and therefore I am unable to have the passion to paint from this.

Perhaps I shall take the advanced drawing course rather than the painting second level then work with the artist Rachel Clark re painting



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Drawing from the shoulder

As I draw more successfully from the shoulder, I tend to be happiest standing and drawing on big paper. I get more fluency and the linear marks are nearer to what my eye sees than those in my sketch book.

Do I need a bigger sketchbook ?
Must look for a good hardback one that I like to use. Much more effective larger marks when large and so I have problems working on A4 and even A2 at times.

Think the same with the brush. I need to stand back more. Buying a couple of long handled brushes has helped. When I work too closely I get detail but do not always want or need.


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Contemporary painter Charlotte Sorapure

Went to see her solo exhibition at Messums before it closed on 31st Mar. I wasn t going to bother but I failed to get a ticket to see the Lucien Freud exhib on the day.
So pleased that I went along. Her painting is just exquisite in brushwork, colour, range of tones and beautifully chosen contrasts. Unfortunately, the catalogue has dark repros and doesn't do her work any justice.

I wanted to see a contemporary working artist and in particular the composition. Her composition is so good that the eye is drawn in and swept up with the musicality of the colour shapes and marks. What a treat. Would love to own one of hers.
Interestingly, her drawings are fine and precise, not in tone notes but in delicate sometimes ethereal almost spiritual drawings that lead to painting composition so well. The rhythm of the paintings are seen in the drawings.

Cause for reflection indeed.


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Thiebaud - looking at work

Beautiful colour with eye watering precision, contrasting and complementary colours. Foreground detail colour shape is again , precisely executed.


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Waynes Thiebaud work

Interesting use of colour and shape to have a go at. Looks glossy. Balance and comp symmetrical almost. Flat colour too with some foreground texture. Appealing But satisfying. Use of edges to imply and connect. To strengthen comp.



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