A good hot cuppa Joe and off to the studio today. Time to make some drawings on new Fabriano paper I'm gonna pick up as soon as the art supply opens.
in the studio
Finding a rhythm, 1, 2, 3.
After filling some pages with lines moving in various directions I defined a zone in which to draw a series of short lines. Each grouping of three is stacked on another three. These marks create an undulating column.
I began drawing a series of these columns and investigated the resulting lines. This image is one small test drawing. Using different drawing tools changes the appearance of the three line groups and ultimately the motion of the columns. I'm currently making a series of drawings based on these marks.
The difficulty is in motivation. How to get started drawing when I was stuck? This almost never happens. Yesterday I was able to get started in the studio again. I had an art play date. Artgal Amy Ralston brought some supplies over and the two of us just experimented. Every once in a while we would chat, stop for a cup of coffee, or show eachother what we had made so far. I took to filling this page with lines — feeling the movement, playing with gaps and patterns. I was able to get something going.
It takes not being too serious and eliminating the expectations of outcome.
What was on the wall wednesday.
I have begun making sets of panel drawings that can be paired in different ways. This is the start. We'll see just how many I make and how many of them feel successful enough to add to a multipanel presentation.
My process allows each to be independent and I'm open to that always being the case. But the joining of many pieces that have a common criteria but are not made to BE together will make for an interesting result.
Looking forward to continue the drawing and see what develops.
Working on these two new panels. Working dark earth. The image isn't the best.
Both drawings following the same rules as the twins before. Two 12 x 12 inch panels one drawing is made on a primed wood surface and the other on mounted watercolor paper. The panels have two tonal profiles. One is a wash the other a sold rich dense hue. The long lines have some very subtle moments due to my value choice. The shorts use a pearlescent ink which makes the texture directional.
These two pieces are hanging on the wall in my studio. Tomorrow I'll see what is next if anything.
Today I worked on this card to determine hue for the ink in my most recent drawings. I use this often when I work with new pigments and materials. I keep the cards sometimes with annotations for reference.
I look at the marks now and again just for the joy of it.
I've had to fight for time in the studio lately.
The good news is I'm getting there and I'm making drawings. I have a series of colored squares I have been working on. They can stand alone, work in tandem, or be arranged in groups in multiples of two. These are in a subset series of measurement drawings that are long and short.
This is what was on the wall last wednesday. I've drawn on a third square but I'm not sure that it is finished. I have a feeling that it is done but waiting is good for clarity. I have a studio day on Saturday so I'll be able to reassess.
The short lines have begun.
In this group of drawings the short lines are made on watercolor paper mounted to a board. This is the first in the pair. The green feels like spring. Looking forward to what transpires as the marks continue.
Already the drawing appears differently based on the angle from which it is viewed.
The earth is so dark right now. Still moist from our most recent melted snow. Applying my dark earth color awakened the smell of the forest floor to me. Dark, covered with pine needles compressed by my boots.
This image shows the application of the dark earth.
One of the essential parts of making art is getting ready to make art. The rituals of opening new materials, sanding surfaces, applying sealers and grounds are all necessary to get in the art making state of mind.
I'm prepping two new panels for drawings. As with my previous drawings in this series one drawing will be made directly on the wood surface and the other will be made on watercolor paper mounted to the panel surface. To protect the paper from the wood surface it needs a gesso layer and a protective bonding agent.