Part 4, exercise 4-2, three pencil drawings

The focus is to be a part of the house, or maybe three different parts of the house, drawn as tondos. I chose the latter and used Inktense pencils for the task which I also dampened and brushed out with a flat brush as these pencils produce rich colour with added water.

I also used my newly discovered technique of drawing large (in an A3 sketch book) then using digital cropping to create the tondo as this not only maximises my strengths in gestural marks but also allows for more than one result from a given piece. While this might not always be possible with a physical work, in the world of prints, cards, and marketing items, it’s an efficient use of a maker’s time.

These are the raw images. The first two are on primed cartridge simply because they were there and next in the sketchbook. I like the brush marks under the sponged pencil work. The first subject is a large wooden carved animal my parents gave me years ago. It’s light, like balsa wood, and it guards the TV. I have no idea where they got it.

This is the other side of the tv where yet another cat sits. This one is made of stone or concrete; a gift from a friend who knows the maker. Next to it is a small christmas tree made of wicker, and beneath both are cat toys.
This is the detail I chose for the tondo.
A real cat this time, round as you like with just a hint of ears to let you know it isn’t a bowling ball. With the pattern on the covers, it describes a gravity well on the chair.

I’m generally at a loss to say what artist inspired or informed my work because I usually have no idea, this time though it’s very definitely Henry Moore and his biro sheep. I was aided in this by one of the cats forever nudging my arm as I was drawing, making a continuous line a better bet than trying for separate ones. An interesting observation, now I have these on-screen, is how much looser they become as they progress from first to last. And is there the faintest hint of Emin’s sketch style in the covers of the last one, maybe?

My first crop included a little more of the scene to the left – a table and a book shelf, but I wasn’t too drawn to that as an image so I focused in on the carving for the second crop.
I’m actually quite fond of the cat-nudged lines here because they seem to suggest movement, something this wooden creature has never had.
This is the crop I chose for the tondo and again each colour is marked in an almost continuous line which, more than the one above, reminds me of Moore’s ‘wire frame’ sheep.
I chose two crops from this drawing; this first is less cat and more cover because I like the way the lines suggest flow and also maintain the link with the cause of that.
This crop is more heavy body than fabric flow and I think the application of water to the bulk did it no favours. I should have trusted the single line approach.

This exercise seems something of a contextual anomaly, having no preceding rationale and no follow-through. Nevertheless, using pencils again is a reminder of their role as tools in the making of marks, which is valuable in itself.

Bonus animations because I’m enjoying trying out all the options.

Moore, H. and Clarke, K. 2003. Henry Moore’s Sheep Sketchbook Paperback – Illustrated. Thames and Hudson Ltd. Henry Moore’s Sheep Sketchbook: Amazon.co.uk: Henry Moore, Kenneth Clark: 9780500280720: Books

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