Lino: Printing from latest drawing

Jumping for joy

In position

Out for a stroll

Help, please

The world is even more amazing upside down

Stepping out

These are the final prints for this project.

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Drawing: More precise ‘Line’ figures

I’m currently reading about forming habits, decision-making and how to work faster, smarter and better (probably sounds super-boring to you, but fascinating to me).  Some of the main points cover independence, exploration and the rewards of achievement.

With my new knowledge I sat down to draw.  My goal was to continue along my recent figure drawing path but work a little more slowly, concentrating on more accurate lines and achieve some hand/eye/perception improvement without becoming stilted and over-thinking.

I moved to pencil as this time I wanted the option of erasing mistakes.

Sitting on the train, captive in my own space, somehow produced these lovely renditions.  Some are my own creations, straight from my mind, whilst others I sourced from my recent drawing book purchase.

Back home, with a different figure drawing book in front of me, I tried a more curvy outline figure.

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Lino: More printing from line drawings


Let’s stretch it out

Ouch! Maybe that stretching wasn’t such a good idea

On the run

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Drawing: More ‘Shrink & Line’ Figures

Enjoying just messing around for a few minutes when I get time.

Whilst these are pretty rough, along with some of my previous ones, some provide a reasonable start point for  tracing and turning into prints.

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Lino: Printing from line drawings

Pushing the boundaries

Through the looking-glass

Super slippery

Did I really sign up for this?


Reaching out

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Revisiting watercolour painting

Late last year I started a watercolour on-line course.  After 3 lessons I was stuck and my problems were very basic: When do you work on dry paper, when wet?  What does prepare and stretch your paper first mean?  Once my basic sky and landfall is in place am I supposed to be working fast so the whole composition is on damp paper?  Obviously you can’t re-wet for future layers because the first layers will run, or will they?  And a range of other extremely ‘new to watercolour’ questions.

I didn’t post my lesson 4 progress as I couldn’t finish the exercise.  Don’t get me wrong, these on-line courses are fantastic through Art Tutor, but I needed a little more info than they provided in this case.

Here’s where I got to in lesson 4:

You can see where I tried to add markings for fields, which have sunk into the background and after hours of blotting off and restarting I decided to give it a miss.  I want to add colour to my prints, not be a landscape artist.  I wasn’t enjoying it and wasn’t getting where I hoped to be.

So this week I went to an absolute beginners class which meant I could ask questions, stand around the demonstrator and get advice as I worked.  Superb.  In addition I benefited from the experimentation and questions from the other students, which is always invaluable.

We were provided with 2 different brushes and I immediately took to the No. 10 synthetic (no sable available) which I used throughout.

As usual with Brenda, her teaching was step-by-step, calmly given and precise.

We explored various mark-making techniques, creating specific shapes, working wet-on-wet, wet-on-dry, shading and wax resists.

The difference in outcomes from each of the participants was quite extreme, I thought.

Some were very heavy-handed and worked extensively with the tip of the brush, working small, neat precise areas.  The watercolours were diluted to different strengths and I tended towards a more translucent appearance.  Isn’t that the point?  Isn’t it supposed to be ‘watery’?

Most, I found, used them more concentrated than I, and it helped me understand how to achieve a receding background and a more solid foreground (thinking back to my landscape attempts).  However, I enjoy the layering and the mix of colours produced when overlaying very translucent aspects.

Once we had explored the media – paper, brushes and watercolours – we moved on to layering colours, which is apparently called glazing.  The aim was to fill an A4 sheet with colour effects.

Now that’s much more ‘me’ than producing a landscape.  My blog is full of experimental shapes, must be my subconscious mind pointing where I should be going.

My kites.

It was an interesting and informative few hours.  I have a better understanding of the media and know what I want to use them for in the future.

Sorry, followers, if you’re looking for landscapes you will need to redirect your search.  They won’t be coming from me, not in watercolour at least!

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Drawing: ‘Shrink & Line’ figures

Moving on to the next page in my book I found myself still on very small drawings but this time very sharp lines and angular shapes are used to define the characters.

In 20 minutes I drew the following (and a few more you really don’t need to see):

That was fun so my next 20 minute block produced these:Some of the poses come directly from the book so I need to find some other source material to observe and translate postures.

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