A Life in Drawing

755937-1526309125

Leonardo da Vinci – attributed to Francesco Melzi

It has been 500 years since Leonardo da Vinci died on 2nd May 1519, aged 67, at Amboise in central France. To mark the anniversary, the Royal Collection Trust has curated an exhibition that brings together over 200 of Leonardo’s greatest drawings. Not only are these works of art, but they served as thought processes of the superhuman polymath. With interests including painting, architecture, anatomy, engineering and botany, these sketches provide an exceptional insight into the workings of Leonardo’s mind.

The first drawing featured in the exhibition is a portrait of Leonardo da Vinci with long wavy hair and beard. This is the only surviving representation of the influential genius to survive today, however, it is not a self-portrait. It has been accredited to one of Leonardo’s pupils, Francesco Melzi (1493-1570) who was bequeathed all of his teacher’s drawings. Melzi kept tight hold of every scrap of paper that Leonardo had drawn on, almost as if they were relics. After his death in 1570, they were passed onto the Italian sculptor Pompeo Leoni (1533-1608) who painstakingly mounted them all into at least two albums. By 1670, one of the albums had found its way into the hands of King Charles II (1630-85) and the drawings have remained in the Royal Collection ever since. In the early 1900s, the pictures were removed from the album, stamped with the cypher of Edward VII (1841-1910) and individually framed. There are around 550 of Leonardo’s drawings in the Collection, 200 of which have been specially selected for this exhibition.

Leonardo was born in 1452 near the town of Vinci in Florence, Italy. He was the illegitimate son of a lawyer, Piero da Vinci, and a peasant girl called Caterina. He was raised by his paternal grandfather, however, little else is known about his childhood. Leonardo was educated in the studio of Andrea del Verrocchio (1435-88) and, by the age of 20, was working as a painter in Florence. In 1480, Leonardo received his first big commission, the Adoration of the Magi, however, this remained unfinished by the time he moved to Milan the following year.

As a juvenile artist, Leonardo learnt how to draw using metalpoint. This was a stylus made from either lead, silver, copper or other metals. It was a laborious technique for, in order to make a mark on the paper, the surface had to be coated with a mixture of ground bone ash and glue. By the late 1490s, the method had fallen out of use across Italy.

The older drawings in the exhibition are examples of the metalpoint technique. These include a profile of a young woman wearing a cap, which may have been a preparatory study for a painting that is now lost. Leonardo also used this drawing method to practice and work out compositions before picking up a paintbrush. A sheet of paper containing a study of hands shows how Leonardo experimented with different positions before settling on the one that created the effect he was after.

d2704_c8789e89-3da9-4021-9cb7-d6659e0a5964_1024x1024

Leonardo da Vinci – Virgin of the Rocks, 1503-1506

In 1483, Leonardo received the commission to paint what is now known as the Virgin of the Rocks for a church in Milan. He painted two versions, one which was never installed and now resides in the Louvre in Paris, and the other that was put in place in 1508. The painting has since been moved and hangs in the National Gallery in London.

Leonardo began working on the Virgin of the Rocks by producing a number of preparatory studies. One of these, which is on display, is for the drapery of a kneeling figure. Comparing this drawing to the final painting, it can be noted that the composition changed slightly, however, the study was an experimental sketch for the pose of the angel on the right of the Virgin Mary. The drawing has been produced with a series of brushstrokes, fine hatching and cross-hatching, which was almost unique to Leonardo at the time. Being left-handed, his strokes slant at a different angle to the majority of right-handed artists.

858340-1547637863

A horse divided by lines c.1490

During the 1480s, Leonardo entered the service of Ludovico Sforza (1452-1508), the ruler of Milan. He commissioned Leonardo to design a bronze equestrian monument in honour of his father Francesco (1401-66), the founder of the Sforza dynasty. Leonardo began by studying and drawing horses in various positions, such as rearing and walking, from all angles. When satisfied with his design, he built a bigger-than-lifesize model out of clay in order to construct the mould ready for casting. Unfortunately, the bronze needed for the monument was requisitioned in order to build a canon, thus the project was suspended.

Five years later, Sforza was deposed by the French and Leonardo’s clay model was used for target practice by the troops and ultimately destroyed.

Leonardo’s drawings from this period also include designs for weapons, armour and grotesque figures. The latter deliberately distorted the ideals of beauty at the time and, perhaps, are some of the first examples of caricatures.

Before Sforza lost his position as Duke of Milan, he commissioned what would become one of Leonardo’s greatest works, second only, perhaps, to the Mona Lisa. Leonardo was tasked with painting a mural of The Last Supper onto the wall of the refectory of Santa Maria delle Grazie in Milan. This painting represents the Passover meal Jesus had with his apostles not long before his arrest as written in the Gospel of John.

After he had said this, Jesus was troubled in spirit and testified, “Very truly I tell you, one of you is going to betray me.”- John 13:21 (NIV)

It is thought that Leonardo produced hundreds of sketches, refining his ideas for the final painting, however, only a few survive. Only one compositional sketch remains, showing a couple of ideas he experimented with. The challenge was to fit thirteen figures around a table whilst giving each one a distinctive characteristic. In one sketch, Judas is depicted at the end of the table and in another, he is standing to receive the bread from Christ. In the final painting, Judas has been integrated into the group of disciples.

The exhibition displays some of Leonardo’s initial sketches of some of the disciples, one of which is Judas. The traitor has a hooked nose, close-set lips and a muscular neck. His head is turned away from the viewer to look at Christ in mild surprise. In the painting, Judas’ facial expression appears to reveal his evil intent, however, it is thought this has been added by restorers at a later date.

The sketch of St Philip shows the disciple’s youth, emphasised by his long wavy hair and smooth face. St James also appears to be young with a similar hairstyle. The latter sketch, however, has been produced more rapidly than the others, suggesting it was drawn from a live model. Leonardo also practised the drapes of the clothing the disciples wore, for example, the sketch of St Peter’s arm who, dressed in thick fabric, leans over Judas’ shoulder in the final painting.

Leonardo briefly returned to Florence at the beginning of the 16th century. By now, he was using natural red and black chalks to produce his sketches, as can be seen in the delicate bust of a young child. This is likely a drawing of the Christ Child, although, no evidence of a painting featuring the same figure exists. Also in orangey-red is a study of drapery for the recently rediscovered painting of Christ as the saviour of the world, Salvator Mundi.

In a combination of black chalk or charcoal and ink are a few studies for the head of Leda for the lost painting of Leda and the Swan. In Greek mythology, Leda was a queen of Sparta who was seduced by Zeus in the form of a swan. Leda then bore two eggs from which hatched two sets of twins: Helen and Polydeuces, and Castor and Pollux.

The painting, which was destroyed in the eighteenth century, is thought to be the only image of the female nude Leonardo produced; however, he was far more interested in the elaborately coiled and braided hair and plants in the foreground than her body. The exhibition also displays a number of plant sketches that indicate Leonardo’s scientific interest in botany.

One of Leonardo’s main reasons for returning to Florence was to paint a huge mural in the Palazzo della Signoria to represent the Battle of Anghiari. The painting had been commissioned by the government to show the victory over the Milanese in 1440. Unfortunately, Leonardo never had the chance to complete the painting and the progress he had made was later destroyed.

What has survived, however, are some of Leonardo’s studies of horses and riders. In some, the horses are running at full gallop, their manes billowing in the wind. In others, the artist has focused on the powerful expressions on the horses’ faces, their lips drew back and eyes wild.

Although Leonardo had nothing to show for the Battle of Anghiari commission, it rekindled an old interest of his: anatomy. Leonardo had begun studying anatomy many years before, however, his sketches were largely inaccurate. He had no knowledge of the circulatory system and believed that veins distributed nutrition to the liver. The heart, he assumed, produced the body’s spirit, which was pumped around the body via the arteries.

From around 1506, Leonardo had access to human corpses from which to study in detail. He was on good terms with a handful of physicians who regarded Leonardo as an anatomist. In the winter of 1507-8, Leonardo performed his first post-mortem on the body of an elderly man in the hospital of Santa Maria Nuova in Florence. He recorded his findings in a series of notes and detailed drawings.

During his first dissection, Leonardo discovered the gastrointestinal tract and appendix. In writing, written backwards in mirror-image so that other people could not easily plagiarise his ideas but more so because, being left-handed, he was less likely to smudge the ink, Leonardo has produced the first description of this structure in Western medicine. He mentions the process of urine from the kidneys through to the bladder amongst other findings.

Leonardo also dissected animals, recording details of their internal organs, such as the lungs. Whilst claiming to have dissected thirty humans, he never performed an autopsy on a female. Nonetheless, he attempted to produce a diagram of the cardiovascular system and organs of a woman by combining the knowledge gained from other dissections, including animal, and ancient beliefs, such as a spherical, seven-chambered uterus.

Although recalled back to Milan where he served French occupiers in a number of ways for about seven years, he continued to work intensively on the anatomy. In 1513, Leonardo moved to Rome under the patronage of Giuliano de’ Medici (1479-1516), brother of Pope Leo X (1475-1521). Despite wanting to continue with his studies, he was not allowed to conduct any more dissections and his anatomical studies came to a halt.

Leonardo was ahead of his time with his anatomy discoveries and his drawings and notes were not fully understood until the 1900s. Although his work did not impact modern developments in biology, in hindsight it is clear that the Renaissance anatomist had learnt the scientific accuracies about the structure of the human body long before anyone else.

One sheet of sketches and jottings made by Leonardo show the musculature in an arm and the veins flowing from the body to the limb. Another sketch details the skeletal structure, revealing the spinal column, pelvis, arm bones and leg bones. There are a few errors on this particular page, for example, an elongated shoulder blade, but on the whole, it was an unprecedented drawing of a human skeleton.

In a heavily annotated drawing of muscles and tendons of a lower leg and foot, Leonardo debunked the theory that contraction of the muscles involved inflation with systemic air. In his drawing of a foetus in a womb, however, he had no real knowledge of the insides of a female’s reproductive system and yet he produced a drawing that looks close to the truth. Leonardo was intrigued that a foetus could fit in the uterus and so, using his knowledge of a cows placenta drew a curled up foetus with the umbilical cord wrapped around the crossed legs. Apart from being in the breech position, this illustration of the foetus is not too dissimilar to contemporary diagrams.

755875-1526308582

The Chateau of Amboise c.1517-19 – attributed to Francesco Melzi

From Rome, Leonardo travelled to France after accepting an offer of employment at the court of Francis I (1494-1547), the king of France. By now, Leonardo was 64 years old and he and his assistants were still painting his future famous works including St Anne and Mona Lisa. Settling at Amboise in the Loire valley, Leonardo held the position of painter, engineer and architect to the king. He mainly worked as a designer, producing sketches of architecture, costumes and equestrian monuments. The sketch of the Chateau of Amboise on display, however, was not produced by Leonardo’s hand. It is most likely the work of one of his assistants, the aforementioned Francesco Melzi. Although the style is similar to Leonardo’s the direction of the hatching indicates it was produced by a right-handed artist.

Francis I was a keen party-goer and held several lavish entertainments, for which Leonardo designed costumes. Leonardo went to town with the detail producing designs rich with ribbons, fringes, furs, quilted sleeves and breeches. Clothing ranged from mercenary soldiers’ uniforms to fools and even prostitutes.

Not only did Leonardo design costumes, but his drawings also showed the characters in action, for example, a young man on horseback complete with a lance. This showed how the material would fall as the body moved and may even have been a help to the seamstress. Not all the costumes were elaborate, however; his sketch of a masquerader dressed up as a prisoner involved rags and shackles.

Toward the end of his life, Leonardo became preoccupied with cataclysmic storms, floods and man’s futile struggle against the overwhelming forces of nature. Art historians tend to believe Leonardo was extremely aware of the limited time he had left and was reflecting on some of his greatest creations, which had been destroyed in front of his very eyes, i.e. the equestrian monument commissioned by Sforza. Leonardo understood the impermanence of the world, having studied human anatomy, dissected dead bodies and examined plant and animal life for a number of years.

These sketches of deluges, however, were not created by an elderly man suffering from despair. They were drawn with the eye of a scientist, showing the optical qualities of cloud, rain, water and smoke.

773236-1530528822

A description of a deluge, with marginal sketches c.1517-18

As well as drawing, Leonardo wrote detailed instructions about how to draw an accurate deluge.

Let there first be shown the summit of a rugged
mountain surrounded by valleys. From its sides
the soil slides together with the roots of bushes,
denuding great areas of rock. And descending from
these precipices, ruinous in its boisterous course, it
lays bare the twisted and gnarled roots of large trees,
throwing their roots upwards; and the mountains,
scoured bare, reveal deep fissures made by ancient
earthquakes. The bases of the mountains are covered
with ruins of trees hurled down from their lofty
peaks, mixed with mud, roots, branches and leaves
thrust into the mud and earth and stones.

And into the depths of a valley the fragments of
a mountain have fallen, forming a shore to the
swollen waters of its river, which has burst its banks
and rushes on in monstrous waves, striking and
destroying the walls of the towns and farmhouses
in the valley. The ruin of these buildings throws up
a great dust, rising like smoke or wreathed clouds
against the falling rain. The swollen waters sweep
round them, striking these obstacles in eddying
whirlpools, and leaping into the air as muddy
foam. And the whirling waves fly from the place of
concussion, and their impetus moves them across
other eddies in a contrary direction […]

The rain as it falls from the clouds is of the same
colour as those clouds, in its shaded side, unless the
sun’s rays break through them, in which case the
rain will appear less dark than the clouds. And if the
heavy masses of ruined mountains or buildings fall
into the vast pools of water, a great quantity will
be flung into the air, and its movement will be in a
contrary direction to that of the object which struck
the water; that is to say, the angle of reflection will
be equal to the angle of incidence.

Text adapted from Leonardo da Vinci: A life in drawing, London, 2018

This is the writing of a man still of sound mind; a scientist and an artist whose skills complement each other rather than contrast. Leonardo was a great thinker both visually and intellectually, and there has arguably not been anyone since who matches his genius.

By 1518, Leonardo’s health was deteriorating and reports state that he had lost the use of his right arm, which suggests he may have suffered a stroke. His weakness is evident in one of his final sketches, a portrait of an old, bearded man, which whilst not a literal self-portrait may at least be an indication of how he viewed himself: lank hair and rheumy eyes. The chalk lines are shorter and more hesitant than Leonardo’s previous work, suggesting he did not have full control over the chalk.

Leonardo da Vinci passed away at Amboise on 2nd May 1519, leaving all his loose sheets and notebooks to Francesco Melzi. Due to Melzi’s care and protection, and of those who handled them afterwards, the drawings have survived to today, where we can appreciate an insight into the greatest mind of the Renaissance.

The exhibition Leonardo da Vinci: A Life in Drawing does not display any of Leonardo’s famous works. There are no paintings or complete artworks. Instead, the 200 or so sketches piece together the real man: the artist, the engineer, the botanist, the anatomist, the scientist, the mathematician, the inventor, the geologist, the astronomer, the writer, the historian, the cartographer, the greatest man of all time. We are extremely lucky to have the opportunity to view these drawings when many of his major works have been lost or destroyed.

The chance to view the exhibition of Leonardo’s work in London is possible at the Queen’s Gallery, Buckingham Palace until Sunday 13th October 2019 after which it will move to the Queen’s Gallery, Palace of Holyroodhouse. Tickets are £13.50 for adults and it is highly recommended that they are booked in advance online.

Advertisements

Thought, Drew, Created!

 

One of my first posts on this blog back in January 2016 was a brief review of Think, Draw, Create!, an art journal-type sketchbook from Parragon Publishing (here). As I demonstrated, I had set myself the challenge to complete a page a week and posted updates of my progress (here and here). Another year has now gone by and I have finally completed every task in the book. Above are some examples that I am particularly pleased with.

As I have said before, Think, Draw, Create! was produced with the intention of helping creatives to nurture their imagination. With over 100 prompts, the book encourages would-be artists to contemplate ideas outside the constraints of linear thinking. The instructions are a mix of literal and figurative tasks that challenge both the brain and artistic skill.

Some pages are fairly straightforward – “Draw something hot.” “Add flames to these candles.” “Design a book cover for a spy novel.” – complete with tailor-made illustrations as starting points. However, some instructions are more obscure, causing thought and careful planning before pen can be put to paper. Examples of these are “Draw this wolf’s howl.” “Draw a joke.” “Draw a wish.” “Draw blue submerged in yellow.” The remaining pages provide the opportunity to illustrate whatever you wish, the only restriction being the colourful or textured background design.

Think, Draw, Create! is not about producing perfect artwork, instead, it is focused on ideas and preparation. Although instructions are given, they are open for interpretation. Many people struggle to think for themselves and need precise direction in order to complete anything. This book is an opportunity to develop a new way of processing instruction and a safe place to increase confidence in your own abilities. Instead of “Draw a bear,” we are asked to “Draw a bear that is late.” The first instruction would have resulted in a range of bears from polar and grizzly to Teddy, however, the latter requires more thought. Not only must we decide what the bear looks like, we need to consider the situation, where he is, why he is late and how is he dealing with this.

The pre-existing illustrations featured in this book have been drawn by Eleanor Carter, an art and design lecturer at Sussex Coast College Hastings. She has used a range of techniques including printmaking and collage as well as drawing to create a fun, light-hearted atmosphere in which to create your own artwork. The imprecise, rough appearance of Eleanor’s illustrations encourages would-be artists not to attempt to be too perfect in their designs and to embrace varied styles and technique.

Since completing the book, I have been able to look back and see the developments I have made in my thinking and drawing ability. I already had a preferred drawing style that had blossomed whilst I was at college, but by taking on these tasks I have been able to expand and evolve my drawing technique.

If someone were to have asked me to draw a picture in 2015, it would almost certainly be a black and white sketch produced with a fine-tipped pen. I never used colour (something that was often mentioned in feedback from tutors) unless I was adding it in digitally – something that was not an option in this book. Initially, I stuck to my monochromic approach, after all the pages already had coloured backgrounds. Eventually, I broke out the coloured pencils and bravely attempted a coloured illustration. I was not disappointed.

Below are a few of my favourite outcomes, all but one coming from pages that gave free rein to do as you pleased. The one directly below was the penultimate task in the book, which instructed me to draw something brave. Admittedly, I did not think about this one for long (to be honest, I struggled with thinking up unique ideas in general) and decided to draw a superhero. For many of my drawings, I researched online for visual references to draw from, so after finding a sketch of Superman, I drew my own version, adding colour to finish. A friend loved this outcome so much, she has a scanned version of it framed on her wall.

Scan 865

On the first set of pages with the space to do anything, I decided to draw a portrait of a friend. Naturally, I had not altered my illustration style at this point, therefore it looks similar in technique to many other portraits I have produced in the past. However, I am still pleased with the result. I had lost confidence in my drawing ability and seriously doubted I would have been able to create a likeness again, yet I proved myself wrong.

Scan 864

These final two examples are my favourite outcomes. On a whim, I decided to experiment with pointillism. Whilst searching for inspiration, I had come across an illustration of Matt Smith as the Doctor in Doctor Who, which had been drawn in a similar style to my own. However, I had a vivid image in my mind about how it would look shaded with dots instead of cross-hatching. Since the facial features were cropped out of the image, I was able to draw a brief outline in freehand (I often trace photographs to get proportions correct) then began filling it in with tiny dots. It took many hours to complete, spread over several days, but it was completely worth it.

In keeping with the Doctor Who theme, I decided on a Cyberman for the facing page. Using a vector image I had saved on my phone, I used the same method of pointillism to shade in the robot-like creature. I am still pleased with this particular illustration and often stare at in disbelief. Did I really draw that?

Scan 867Scan 866

Think, Draw, Create! has been a lot of fun and has given me the opportunity to draw without the added pressure of deadlines and perfection (okay, that’s a lie. I struggle with perfectionism). I definitely recommend purchasing this book if you are looking to enhance your creativity. It is suitable for all ages and abilities and has certainly helped me develop my own skill.

2016 Finale

Well here it is, the end of a year – and what a year it has been. My new years resolution for 2016 was to start posting regularly on this blog – once a week – which, apart from the week I spent abroad, has been successfully achieved. From my own artwork to exhibitions I have visited, I have covered a broad range of creative topics, and rekindled my enjoyment of both drawing and writing.

The images above are a few of my final sketches this year. In November I decided to stop attending art group (for a number of reasons) but remained determined to produce a drawing once a week – and to prove it, there they are! As you can see, however, I have not been that adventurous, preferring to stick with monotone tonal drawings. I did, on the other hand, experiment with water-soluble graphite (pic.2), although I think I need to practice my technique a bit more.

1As well as drawing, I have spent the year colouring – books and loose sheets. I would not be surprised if I counted them up to have completed a hundred or so! I have reviewed a couple of the books I own, but you can expect more within the next year.

One of the more recent colouring sheets I enjoyed working on is this picture of candles and poinsettia. This was for a colouring competition, so I used it as an opportunity to really focus on the colours and tones I was using. I think this make the final image more affective in comparison to single block colours.

 

My Number One Drawing, 2016

7

The piece of art I am most proud of is the cyberman a drew as part of a task in the book Think. Draw. Create. On this particular page, the task was to “transform the emptiness” which I decided meant “do want you want”. I had already attempted an illustration using fine liners and pointillism, which I was pleased with, so decided to have another go.

I think this technique looks really effective, and I like how the different pen thicknesses help to create different tones. The downside to this method, however, is the length of time it takes. I produced this illustration over a couple of weeks, working for no more than half an hour at a time. It is very tiring to sit and dot the paper over and over again, and before long your wrist begins to ache.

I’m not setting a definitive resolution for 2017 – too much stress – but I hope I get the chance, and the energy, to try producing more art work in this style. I also aim to continue blogging on a weekly basis, and already have a few ideas to write about in the coming weeks.

Thank you to everyone who has followed this blog or at least taken the time to read a post once in a while. I wish you all the best for 2017.

 

Merry Christmas

2016-copyHave a Cool Yule!

What do reindeer hang on their Christmas trees?

Horn-aments!

Did Rudolph go to school?
No. He was Elf-taught!

What do you call a bunch of chess players bragging about their games in a hotel lobby?
Chess nuts boasting in an open foyer!

A Politically Correct Christmas 
Anon

Twas the night before Christmas and Santa’s a wreck…
How to live in a world that’s politically correct?
His workers no longer would answer to “Elves”,
“Vertically Challenged” they were calling themselves.
And labor conditions at the North Pole,
were alleged by the union, to stifle the soul.

Four reindeer had vanished without much propriety,
released to the wilds, by the Humane Society.
And equal employment had made it quite clear,
that Santa had better not use just reindeer.
So Dancer and Donner, Comet and Cupid,
were replaced with 4 pigs, and you know that looked stupid!

The runners had been removed from his beautiful sleigh,
because the ruts were deemed dangerous by the EPA,
And millions of people were calling the Cops,
when they heard sled noises upon their roof tops.
Second-hand smoke from his pipe, had his workers quite frightened,
and his fur trimmed red suit was called “unenlightened”.

To show you the strangeness of today’s ebbs and flows,
Rudolf was suing over unauthorized use of his nose.
He went to Geraldo, in front of the Nation,
demanding millions in over-due workers compensation.

So…half of the reindeer were gone, and his wife
who suddenly said she’d had enough of this life,
joined a self help group, packed and left in a whiz,
demanding from now on that her title was Ms.

And as for gifts…why, he’d never had the notion
that making a choice could cause such commotion.
Nothing of leather, nothing of fur…
Which meant nothing for him or nothing for her.
Nothing to aim, Nothing to shoot,
Nothing that clamored or made lots of noise.
Nothing for just girls and nothing for just boys.
Nothing that claimed to be gender specific,
Nothing that’s warlike or non-pacifistic.

No candy or sweets…they were bad for the tooth.
Nothing that seemed to embellish upon the truth.
And fairy tales…while not yet forbidden,
were like Ken and Barbie, better off hidden,
for they raised the hackles of those psychological,
who claimed the only good gift was one ecological.

No baseball, no football…someone might get hurt,
besides – playing sports exposed kids to dirt.
Dolls were said to be sexist and should be passe.
and Nintendo would rot your entire brain away.

So Santa just stood there, disheveled and perplexed,
he just couldn’t figure out what to do next?
He tried to be merry he tried to be gay,
but you must have to admit he was having a very bad day.
His sack was quite empty, it was flat on the ground,
nothing fully acceptable was anywhere to be found.

Something special was needed, a gift that he might,
give to us all, without angering the left or the right.
A gift that would satisfy – with no indecision,
each group of people in every religion.
Every race, every hue,
everyone, everywhere…even you!
So here is that gift, it’s price beyond worth…
“May you and your loved ones enjoy peace on Earth.”

Art Group. September 2016.

 

This month has been a continuation of portrait drawing. I have now drawn everyone who volunteered their photographs for me to practise from. So, thank you:
rosebutnottylerceciliasvenssonsapphicfaery and Mollie.

I have enjoyed getting back into portrait drawing and wish to continue. My only issue is that I need to use photographs to help me get the proportions correct. It is also best if the photo is well lit so that I can see the shadows clearly. The images above I have not drawn, I have shaded. I find ignoring the facial features and shading in the various shadows is as accurate and neater than say, for example, drawing a nose.

Hopefully next month I will be able to continue producing portraits, although I am aware that I should not stick to one style of drawing for too long. I tend to get stuck in a rut. One thing I would like to do differently is use charcoal instead of pencil. I have not used this medium to draw with before, and I have some charcoal pencils sitting in my cupboard crying out to be used. Now I need to be brave enough to give them a go…

The Life of a Sketchbook

Sketchbook ˈskɛtʃbʊk/ noun a pad of drawing paper for sketching on.
I lost count the amount of times throughout school and college people asked if they could look through my sketchbook. I felt uncomfortable letting people flick through the pages for two reasons. 1. I did not believe I was any good at drawing. 2. I knew the contents of my sketchbooks were not what they were expecting to see. There seems to be a misunderstanding among non-artists that sketchbooks are full of perfect works of art, but this is not the case at all.
The purpose of a sketchbook, particularly when studying, is to document creative ideas. It is a private place for artists to record their thoughts and experiments before developing various versions of a particular concept. It is only after these stages have been completed that the final artwork is put together.
There is no right or wrong way to keep a sketchbook. Everyone works differently and find some methods more helpful than others. Some books may not contain any drawings at all but be filled with collage and inspiration from a number of resources, whereas others may be packed with rough illustrations and scribbled notes.
Steven Heller, an author of art and design books, has compiled together snapshots from professional artists’ and designers’ sketchbooks. It is interesting to see the methods they have taken to move their thoughts from brain to paper. Two books I particularly enjoyed looking through are Graphic and Typography Sketchbooks.
Inspired by these books I have taken photographs of a few of my own sketchbooks that I kept whilst studying for a degree in Graphic Design. As you can see below I did not stick to one method, instead I experimented with drawings, collage, paint, colour, rough thumbnail sketches etc.

Next time you ask to look at someone’s sketchbook remember you are not going to see perfect artwork. What you are really requesting is to take a peak into someone’s brain. So don’t be surprised if they hesitate to show you!

Art Group. August 2016

This month I decided to do something new… or something old, actually. When I first discovered my drawing ability I started drawing or painting portraits of people. For a while it was the only art work I would produce. I eventually moved on to other things, but always fell back to using this style.

However, I soon became dissatisfied with my drawings. I put too much pressure on myself to make them perfect. I was never happy. Drawing portraits made me feel depressed. Now, after a couple of years, I had the urge to try again.

Using black and white photographs to help me, I produced a portrait every week this month. I began with celebrities, but as I am not really that interested in films, TV and media, I struggled to find suitable photographs of stars I actually knew of. Therefore I asked online for volunteers to send me their own photographs for me to draw. I thought it would be good practice for me, but also nice for “real” people to have a portrait of themselves. Two Tumblr bloggers, queen-kong and mybpdblog, kindly let me look through their photographs and select one to draw.

As always I doubted myself, thought the outcome was not good enough and let my perfectionism take over. However the feedback I got from my “models” helped me to feel proud of my work. They both loved what I had done and told me the drawings were fantastic. It was lovely to get such genuine positive feedback. Now if only I could keep this in mind next time I doubt myself…