Continuing with the downloaded
instruction from
Jane Davies, I embarked on Lesson 4 of Sketchbook Practice.
We began by making large gestural paintings, on cheap 18" x 24" paper, using only black and white materials: paint, ink, crayon, marker, pencil, charcoal, etc. I spattered paint with a toothbrush, improvised paintbrushes from combs and sticks, dripped and drizzled. The idea was to ignore composition. Later, we would be selecting "interesting areas" to cut out and develop.
Somehow, when I am told to do this kind of thing, I begin to work very fast. The result was six large, indistinguishable messes: minestrone soup.
I am so glad that I tossed these six and began again, slowing down and becoming more deliberate, more thoughtful, just as the instructor was in her demo video, creating "areas of interest."
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimIw83ywo8G7EYMCRdVvxZSsHPRgLkXZpotfCHhnmr5OWsw-KWGOU4m13osK8Hx2806cNX11QAwR_938sLdLAogzd9-Js1UuaLdBPXo3i1QH3by5wVVslHkaZ0n8BuDBWD4wkbZ1NncrA/s400/IMG_0949.jpeg) |
The 8 successful candidates |
This time, I had no trouble isolating eight mini-compositions to develop further, from four large sheets. One of the key things was to keep distinct areas of dark and light. After gluing them down on larger, better-quality paper, I began to develop each one in turn, extending shapes, adding shape and line. And I have another eight mini's that are also candidates as "starts".
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi67F03Ev1G_ENhguaOJ-fc6OTEabkbXnKmjPqdHcfWvXl2e2myQxwCO-jvEvIAMcfZ3J7lNaTrAQoyL6kxL0cPFWyxdxj3NY1eA3bhDErYp1s5XtVGDj8EhZZkUuZDGXOFHV4DCR-XyPw/s400/IMG_0979.jpeg) |
The 8 runners-up |
Here are some of the results. I don't see any of these as finished pieces, but rather exercises in composition, creating variety and interesting shapes and lines.
To prepare for Lesson 5, we were asked to paint a random shape/line with black paint on small (7" x 7") squares, and then to augment that with a "wash" of black paint. These will be developed later.
The final part of Lesson 4 was to make a rough contour drawing of an object, using a black wash and a big brush. As a second layer, we were to do a quick contour drawing of the same object on top of the wash study, either aligning the two studies or offsetting them.
I was unhappy with my first efforts. There was no energy to them. They were more like drawings that had been filled in with wash, like a child's colouring within the lines.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ87g56p0sEssX0kb72B3qZU2SsjJs9L9jRZgTlKRXPG6RNCn6N1utmVHwRRDppBOtgXV41MTEOUGUD7ImO6E4spHueKEM8DW9OtAR1U5cWWMpjLpKNesa1z-kKdBLYHxSKxvzcuvaeQM/w400-h374/IMG_0987.jpeg) |
Blah |
So I took a looser approach and repeated the exercise, disregarding the matching of the two sketches and going for something of an offset effect.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivhQ35u7iEjRJc1FznFYT_je62swCx7L5Q8N5K4ferenL2txpc3SvjFogsZBJjA6yYGnrLJI74SkG8mKpkaxsDgULTxNnsamoicK3bvy4CvL_ulboVi6EqI8TorooNBLWVdpL036qrcAM/w400-h294/IMG_0992.jpeg) |
more lively, more interesting
|
Could still stand to loosen up a bit more. Perhaps a floral arrangement, a more organic subject?
I'm beginning to see how having a regular sketchbook practice would be a good way to generate ideas for further development.