the art of not giving a f*ck while drawing

For each of three twenty-minute life drawing poses, I drew first in clean water so I could not see an image, then developed this by dragging a conte crayon (hard pastel) down the paper so the water caught the pigment to create a rough shape. I then drew into and around that shape.

In the second drawing, I also used opaque Inktense water soluble paint to draw in a sense of her tattoos.

I was trying to liberate my drawing over an obsession with accuracy. I succeeded at that at least

The warm up 2, 5 and 10 minute poses I focussed on just her feet using a soluble graphite pencil and water.

Bric a brac sketches

Following a theme from the start of the week, here are sketches of assorted objects: volcanic rock, a cream jug, a carved stone elephant. Each piece started with a hard conte crayon scraped downward over paper on which water and dry areas set out the basic shapes in the sketch. I like the magical sense of the picture revealing itself. The picture was built with crayon, Inktense water-based paints, white acrylic ink and water.

What began as

What started as an online collection of strangers in lockdown, became the ebb and flow of a friendship group.

I came to meet friends in a pub in London, but first I spent three hours drawing in the British Museum.

I drew the noble faces of others’ civilisations hacked and stolen by an empire of vandals.

Strangely, four times I was interrupted so people could photograph my drawing in progress.

Happy New Year, fellow artist bloggers.

less is more

I used photos from a gig I went to last Tuesday in a series of watercolour exercises aimed at gradually reducing the amount of line and paint I apply to the paper. The top two were the last I did, the rest are a jumble of earlier attempts. The more white paper I leave the better the effect. The gig was by the fabulous Bonfire Radicals, an experimental folk band.