Pandemic Sketchbook: self-portrait with bandana

Charcoal Portrait of a woman in a bandana
Self-portrait with bandana, charcoal pencil

This self-portrait is based on a photograph taken by a friend a couple of weeks ago. We were sitting on my front porch where I have two chairs spaced six feet apart. She wore a mask and I wore a bandana out of an excess of caution while we talked.

Keeping a Sketchbook: value studies

This 9 by 12 sketchbook doesn’t travel with me, but stays on my drafting table. The top three sketches were made with a range of pencils from 5B to 5H. What I really needed to punch up the dark values is a super-duper dark, almost charcoal, pencil. So that’s on the art supply shopping list. No matter how many layers I put on, I just could not build up really velvety blacks with my old pencil collection. I don’t like to mix my charcoal pencils with the graphite pencils. They seem to resist each other. The shiny graphite makes a weird base for charcoal. The charcoal just floats on top.
To draw the ducks, my teacher loaned me her darkest pencil. You can see the very dark necks on the ducks are darker than anything in the previous sketches. The finished duckies will star in a future post.

Sketch of fruit

Apple and orange, pencil

Flower sketch

Black-eyed Susan, pencil

Flower sketch

Daffodils, pencil

Sketch of ducks

Ducks, pencil

Art Boot Camp – the portrait

I joined a new art class last spring and my teacher explained that all new students go through ‘art boot camp.’ So back to basics for me for the last six months and back to blogging about the process which helps me focus on what I’ve learned and where I’m going.

This pencil portrait is based on a black and white photograph that I selected from a folder of photographs that my teacher supplied as source materials for the portrait assignment. I don’t know who this woman is. I even did a reverse Google image search and could not find her. So apologies on that, if you were wondering.

The task set for me was to catch a likeness. That means, in my case, I can draw people and the drawings look human and not appallingly amateurish, but it’s really difficult to make the drawing look like that particular person. The trick, advised my teacher, is to use relative measurements. You know, that thing where artists measure by holding up a pencil and measuring how many partial pencil lengths it is from hairline to eyebrow and from eyebrow to pupil and from pupil to nostril and so on. Then you make little dots on the paper as guidelines. Well I feel I got to know this lady’s remarkably arched eyebrows and deep smile lines and exactly how her earlobe lined up with the bottom of her nose and so on. Now if I watch a debate on tv, I might be thinking about someone’s short upper lip or long nose and not realize whatever policy they espouse. That’s probably less stressful – catching a likeness, not catching a policy.

Pencil portrait of a woman

Portrait of a woman, pencil on paper

It’s September- back to art class

After a summer of swimming, gardening, and traveling, but not much sketching, today I started art classes for the semester. Our teacher rightly figured that her students might need a little warm up after our relatively art-free summer. Thankfully not asking for a picture of what I did on my summer vacation, she had set up still life stations, each with a silver or pewter pitcher set on a white cloth. The choice of medium was charcoal or oil. Below: my one hour charcoal sketch of a silver vase. What I was hoping I remembered from before summer break was how to really catch the dark and light values and the reflections in the metal. I think those turned out well enough – exaggerated for dramatic effect. The drawing itself is fairly accurate although I would have futzed around endlessly, but ran out of time. I’m calling this piece finished and I’m ready to move on to…further art adventures…

Silver vase drawing

Silver Vase, charcoal on paper

Salt Marshes, again, and again

Last May while visiting Stone Harbor, I took an iPhone picture of the salt marshes along the causeway leading to Seven Mile Island, a barrier island along the southern end of the New Jersey shoreline. The marsh grasses were a spring green with some winter browns mixed in at that point.Landscape New Jersey

View of Stone Harbor, NJ

Last summer, I took a charcoal drawing course and drew the scene of the salt marshes in black and white, with soft vine charcoal on watercolor paper:

Landscape

Today, I revisited the scene in pastel: 12×18, Canson pastel paper:

Salt marshes, New Jersey

This part of New Jersey is so beautiful. I enjoy revisiting it, in person, and in different art mediums. Next, sometime this winter, I will paint the scene in watercolor then oils. By then, it will be time to drive ‘down the shore’ again, as we supposedly say in New Jersey.