Exercise 1 and 2 where undertaken at Old Wardour Castle, we are heading into Autumn, but the leaves haven’t turned yet and the days are still warm. (This years supply of fingerless gloves have arrived from Ebay so I am nearly ready to draw outside after the temperature drop).
These individual trees were created with charcoal, graphite and fine liners, The single line drawing technique was effective and produced something akin to an illustration, which brings me round in a convoluted way to Patrick Caulfield, who I was advised to look at alongside Henry Moore, I am currently finishing off one of the set texts, Writing on Drawing (intellect books 2012 edited by John Steers), I was disappointed with the essay on reappraising Young Children’s Mark Making and Drawing (Chapter 6 Angela Anning), It posed the same issues I’ve noticed regarding peoples view that teaching children to concentrate and learn how to make more consistent marks is deemed as taking away their own artistic voice. My argument is that by giving young children a better springing off point with which to make recognisable marks how can we be doing anything other than helping them achieve a closer representation of the artistic picture in their heads when it is down on paper? Surely this isn’t blocking their artistic voice, its helping it to emerge stronger? I feel as someone who has been able to draw well since childhood, I should have a view with more credence.
Also, given the different industries that could utilise workers who can support their observations and ideas with a quickly drawn representation, by not helping children to draw accurately within school, aren’t we stymieing their ability to achieve some careers, this isn’t the children who can’t access art, this is the scientists and engineers and software writers who would benefit from ideational drawing techniques. (essay number 7. New beginnings and monstrous births: Notes Towards an Appreciation of Ideational Drawing Terry Rosenberg).
Not that the book gives any ideas on how to shoehorn it into the curriculum.
I’ve digressed a bit.
I’ve got a book about Patrick Caulfield, I haven’t sat down and engaged with it much yet, Its not grabbing me as much as the Henry Moore sketches (I asked for vol 1 complete drawings 1916-29 The Henry Moore Foundation 1996. edited by AG). I want to finish off the essays first though.
Exercise 3, a study of several trees, I prefer the Pitt brush pen version in the sketchbook, the watercolour does what it needs to, I can distinguish different trees, but its clunky and indistinct.
I much prefer the freer pen, I’d like to do that one again on watercolour paper so I can go in with a light wash of colour after. I may come back to this exercise…