SETTING GOALS Part 2.

This year I produced more drawings than I had intended. I was trying to produce less work that took me more time, was more detailed and sensitive. Well, I am pleased to report that my work became more sensitive and detailed, not that detail really matters, it’s just that it suited the subjects I drew.

As the year progressed the average size of my drawings increased. I did however, produce a series of smaller works. My drawings are thematically based and I usually produce anywhere from 2 – 10 works, often one after the other. I have always liked to work in themes as it gives me the chance to explore an idea more fully than would be the case with a single drawing.

My themes this year were: Rocks, Shells, Bread, An Enamel Mug, Tumbling Water, Logs, Natural and Man-Made Graffiti,  Religious Symbolism, Light and Abstracts based on Nature. I have also commenced a series looking at known objects in a completely different way.

Some of my themes have been with me for a number of years. The Enamel Mug is new, and may appear again next year.

Today’s images are examples from some of my Rock studies.

Tomorrow: My goals for next year.

Richard

SETTING GOALS Part 1.

About this time of the year artists start to think about what they would like to achieve in the coming year. Some  write lists that are displayed on notice boards, their diaries, in the kitchen, study or in their studio (if they have one). Others hide their lists and promptly forget where they put them! And of course most of us don’t even think of sitting down and asking ourselves what we intend to commit to next year.

Goal planning is a great idea, especially for artists whose work follows a theme, or a particular direction. It’s a discipline that (usually) ensures results before the following Christmas. But there is danger in thinking and planning this way.

One can get so involved with one’s goals that their art loses all degree of flexibility. New ideas often come from existing ones. How many times has the art you’ve been doing suddenly given birth to another piece of work? We mustn’t tie ourselves down to completing our list of goals within the next twelve months, regardless of anything else that might happen.

By all means start off with the best of intentions, then see how things progress. Celebrate all the work you have planned and also the ‘accidents’ you have in your art along the way.

It’s all part of the creative process.

Before you plan your goals for next year it’s a good idea to review this year. What has your art been about in the past 12 months?

Today’s featured works are some of the drawings I did as part of a shell theme this year.

Tomorrow: A review of my work over the past year.

Richard

LAYING THE FOUNDATIONS

Nearly all of my research has been done and I’m well into my latest drawing, Liar, liar, liar. There are still a couple of things I want to add, but I have enough information (and direction) with which to to make a start.

I like to arrange any photos, sketches and objects on, or around my drawing table within easy (visual) reach.

For such a calculated and planned drawing I need to be well organised. This is by no means spontaneous work and to some this method may look a little ‘tight’, but I can assure you that there is some flexibility in this process. I occasionally make changes if I think it helps my original idea.

How do you work?

Richard

CHRISTMAS GREETINGS

I wish you and your families peace, joy, hope and love at this special time of the year.

May the year ahead be all you want it to be.

God bless.

Richard

ARTIST’S ELBOW?

I’ve been struggling during the past week with tennis elbow, due I fear to a recent session I had with a tree and a pruning saw. At times the pain I endured was quite severe and so I finally took  my wife, Val’s advice and went to my doctor who told me “That’s why God invented chainsaws”. I have both tennis elbow and tendonitis. I am now wearing a pressure bandage which has made a tremendous difference although my elbow still needs time to heal.

Sometimes my drawing style results in RSI in my right hand. A day or two’s rest and I’m back into my work. I don’t think my present condition is due to constant drawing throughout the year, but artist’s elbow sounds more appropriate than tennis elbow don’t you think?

Today’s post is an example of value-adding as a result of the research I have been doing in relation to my current drawing, Liar, liar, liar. Holding a can outside the other day (it was already empty), I decided to put my new macro lens to good use and take some photos.

The mock-up is basic but what i intend to do is draw a waterfall on the can that tumbles into the top. The original colour of the can will be replaced and the object and indeed the whole drawing will take on a landscape look. It’s a bit surreal, but that’s something I like doing. I find looking at objects that are well – known in a completely different way quite exciting and challenging.

Richard

CAN CAN

I often spend time researching new work, as I usually don’t work from a single photograph. I like to collect objects (doesn’t every artist?) that are relevant. I photograph them in various positions and draw directly from the objects, using the photographs for the direction of light and shadow. The aim here is to make them as believable as possible.

I often use symbols which have to be checked for their accuracy and relevance.

As you can imagine, I have quite a collection of objects in my studio, in the garage, outside in the backyard etc etc.

For my latest work Liar, liar, liar, I need beer cans. Having a dog is great, because you get to walk him and collect beer cans along the way.

I also need cigarette butts, but I already have a collection (of photos) of these.

Gathering all the required information is not only educative, but fun. As the drawing grows in content, so does one’s ideas, which in turn can change and head in new directions.

This is certainly not spontaneous art, but I find it personally rewarding.

Richard

TURNING UP THE HEAT

My last two cp drawings have involved rooms in an old farm building. I’ve enjoyed both of these works and am keen to draw more, the only drawback being that I haven’t any further material to draw (sorry for the pun) upon. I shall wait until another opportunity comes along. There are a number of historic farming properties not far from where I live, and I intend to visit some in the new year.

In the meantime I have taken an interest in fireplaces, both outside and in. The two examples posted today are from Cheshunt (top), while the bottom image is a photo of a fire that my eldest stepson Matthew, built and lit a couple of years ago at Brushy Lagoon, a popular fishing location about an hour’s drive from Launceston.

I am currently working on an idea for the latter. This is to be a religious drawing titled, “Liar, liar, liar”, and is a commentary on Peter’s denial of Christ, and our own denial with a ‘twist’,  that it’s set both in the past and the present. It’s still a work in progress, but I expect to draw up the details this week.

This drawing will not sit comfortably with some people, in fact it will be quite confronting. Artists have a responsibility to tell it how they see it.

Richard

SILENT LIGHT

Silent Light, coloured pencil on pastel board, is nearing completion. I have taken a break from completing it, but will do so next month. I still need to work on the left-hand wall, the floor and add a little more to the door.

I’m pleased with its progress and once it’s finished I shall put it away and enter it in an art prize later next year.

The room depicted has long since known any human company. The whole building was incredibly quiet when I last paid a visit. The only thing ‘alive’ in the room was the dazzling rays of the early morning sun as it penetrated the window and came to rest on the rubble-strewn floor.

On the mantelpiece sits the famous Cheshunt mug, making its fifth appearance in as many drawings.

There’s a lot of history in this room; many stories to tell, but no-one to tell them.

Richard

SKETCHING Part 4.

When I sketch, I often find myself tending to be quite aggressive with my pencils. Is this a masculine thing? Am I just frustrated? Do I sense an opportunity for complete freedom?

Whatever the reasons, I always enjoy the experience of sketching. I don’t have to be photographically accurate and neat. I can make mistakes and cover them up!

Maybe the real me is finally making an appearance.

Today’s featured shell drawings were a delight to create. I still remember drawing (sketching?) them in the early 90s.

I do recommend that if you push a pencil as hard as I do sometimes, use heavyweight paper. I find that Polychromos pencils are ideal for this type of work.

Tomorrow: My latest drawing is almost completed

Richard

SKETCHING Part 3.

When does a sketch become a genuine drawing? Are sketches simply quick, easy statements that aren’t serious in terms of finished art? Should sketches always be cheap in price?

Today’s featured cp drawings are as close to a ‘finished, detailed sketch’ that I do. Once framed and hung in a gallery, are they genuine drawings? Is detail always important? So many questions!

During the 90s, my drawing style became very loose and carefree. Was I going through a sketch stage or was my hard-edged style really coming to the fore? I don’t know. What I do remember was that all the work I sold contained a lot of detail. People love information when buying art they like – well they do here, where I live.

Sketching is a wonderful asset to the creative process. Its quick and easy nature enables one to get ideas down without too much fuss and procrastination. There seems to be a lot of joy in the freedom of sketching.

Detail in any artwork isn’t that important. I love very clever art that can say a lot with very little.

Sketching deserves greater respect as genuine, finished artwork.

Richard