A3: Charcoal on Paper

The cut-out effect is the result of photographing the drawing in poor lighting, which made the whole thing a bit grey, then erasing the background area in Photoshop to lighten it.

I’ve sometimes done this on previous posts to clean them up a bit around the corners but it’s more obvious and deliberate-looking here, and I like how the soft grey links the three individual poses together to create an apparent group of figures.

Winning and selling

A3: Charcoal and wash on paper

One of my drawings won a prize this week at the arts club annual exhibition. I also have two paintings in the show and sold one at the private view despite the NFS tag. Someone made me an offer and I took the cash. I’ve had offers for the drawing too but haven’t accepted…yet…as it’s one I’m fond of. I do have a plan chest full of drawings though so why have I not let it go?

It’s wonderful and very encouraging to receive acknowledgement and appreciation, and money, for my work.

I’ve sold many paintings in the past that I really loved and have no regrets about parting with any of them. (Well, maybe one, and I’ve insisted on keeping a few). Letting go of the old makes way for the new, and no one can enjoy work that’s hidden away in a rack or drawer.

I heard that a local artist, an excellent and prolific draughtsman, has been selling his life drawings for silly money at his open house show. A kind of loss leader for his paintings perhaps. I like that this gets his work, and his name, out there and suggests both a lack of attachment and a confidence that he can more or less give them away as there will always be plenty more where these came from.

The winning drawing is “Two’s Company” which I posted here on 18th February.


A3: Charcoal on Paper

A slightly longer pose (20 mins) with more time to experiment mixing line and values. Not sure how successful it was…maybe it needed some much darker areas strategically placed to give a greater sense of depth…or something…ish?  As it stands I think the line and tone are fighting one another.

Soft sculpture

A3: Charcoal on Paper

I dared myself to drop my familiar linear approach and went straight for tone. I had to squint hard and just go for it fast allowing shapes to merge and create a more sculptural feel. This is a very unpracticed method for me and is more akin to painting…which is good.

Turn turn turn

A3: Charcoal on Paper

Most of the central pose got erased along the way leaving just the head and shoulders and the lower leg and foot in the centre. I rarely erase like this and don’t know why I did it here. Maybe the inner editor jumped in with some make-it-look-nice agenda!  Sometimes I keep drawing over and over until its almost impossible to tell which contours belong to which figures and a lively pattern of lines and marks covers the page. The header at the top of this blog shows a section of one of these drawings. Someone at the arts club described them as Composites and I’ve adopted the term…for now…