Athina 6-12-12

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Category: Figure Drawing

Published on Wednesday, 13 June 2012 13:53

Written by Martha Hall

Tuesday Figure Drawing

"Athina"  June 12, 2012            Martha C. Hall

4B Pencil on Bristol board

45 Minute Pose

Draw What You See

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Category: Figure Drawing

Published on Wednesday, 06 June 2012 17:54

Written by Martha Hall

“Paint what you see, not what you know.”  Charles W. Hawthorne (1872 – 1930)

This is paraphrased, but it is how I remember the quote. The basic idea of learning to see is present throughout Hawthorne’s teachings.

Charles Hawthorne, an American painter and founder of the Cape Cod School of Art, was talking about painting in his lessons, and the relationship of a spot of color next to another spot of color. He pretty much declines to talk about drawing as he is very interested in color and paint.

“Hawthorne on Painting” is a wonderful handbook that I referenced and highlighted when I was learning to paint. And it’s still a good book to refer to every now and then.

The idea of “drawing what I see” is the lesson I’m currently applying while drawing the figure. There is no color involved, but lots of lights and shadows. And perspective and relationships.

Forget what you know about an arm, for instance, and draw what you see – a shape or a line, the relationship of the arm to the shoulder or the hip.

I find when I’m drawing the figure, I start looking at it strictly as visual and spacial relationships, almost forgetting the person that is there.

Later, when one looks at the whole drawing, you can say that “Yes, that is a good likeness of a human figure.”

This week at the Figure Drawing Studio we decided to do a drawing concentrating on the hands. A lot of my figures seem to be missing fully formed hands and feet! Some of that is due to time constraints, but also – hands and feet can be hard to draw!

What I “know” about a hand and drawing a hand are quite different. The number of joints and the spaces between fingers can be quite confusing. I actually do some counting to make sure I have it right.

I’m drawing the thumb as I “see” it, although that crazy angle and jutting knuckle of her left hand might not be what I “know” about a thumb.

I’ve corrected the middle finger on her right hand because when I look for the relationship of the length of her fingers I can see that I didn’t get it quite right.

When I stand back to view the whole I can see that it is a fairly realistic image of hands. More practice needed, to be sure! But the idea is in learning to see.

Until next time -
MCH

Decisions and Solutions

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Category: In The Studio

Published on Thursday, 31 May 2012 00:42

Written by Martha Hall

..... and all the in between.

I’m sure I’m not the first artist who has ever wished that a vision in their head could manifest itself fully formed.

If only all my work looked as good as I picture it. But, no, we have that inconvenient step of execution.

I like what I do or I wouldn’t do it, but the idea of constantly joyful artmaking is a myth. I think maybe if you are not questioning and struggling a bit with your art, then you’re not working hard enough.

For me the joy comes with the idea, that fully formed image in my head. Then, if I’m able to bring it to a successful completion, there is joy in that.

In between is the hard part, interspersed with joy at the bits that come together successfully as I go.

From the idea/picture in my head I do a rough sketch so I have a visual reminder of what I’m going for. I can’t go from head to fabric without the sketch – I need the picture as a jumping off point.

I think through color and other decisions at this stage too. Resolving some of the basic design elements at the outset leaves my mind free to answer other issues as the work progresses.

I start cutting fabric, lots of pieces and strips to work with, and lay out a basic framework on the design wall. Then I start stitching.

I’m not unhappy with this piece, which is not to say that I’ve figured out how the hell I’m going to construct it.

It’s a regular puzzle with lots of partial seams and randomness and muddlement and eyestrain to go with it.

Last night I went back to the sketchbook to try to think through a construction system. Piecing fabric presents its own challenges that are not a concern with other art media. I am a person who sews, therefore my solutions go to sewing. And if I can pull it off I prefer the way it looks. I’m sure there are easier ways, but why go the easy route when I can suffer through this.

I feel confident I can make this work, a stitch and a piece at a time. Perseverance........

This is meant to be a diptych, so yeah, I have to make another one. I haven’t cut any pieces for the second one yet – I wanted to work out some of the solutions with the first one so I don't waste fabric on the next one.

I’m thinking that by the time I figure out the solutions on #1 that #2 might come together a whole lot better, and then I’ll want to remake #1. I really hope not.

Until next time -

MCH

House of Kings

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Category: In The Studio

Published on Sunday, 13 May 2012 18:26

Written by Martha Hall

I showed some detail pictures of this piece a while back. At the time, I didn't do a full reveal because it was part of a group project that we were keeping under wraps. I explained about it here.

"House of Kings"  18" x 18"     ©2012 Martha C. Hall
Painted whole cloth and plastic credit cards, machine quilted

Since then I have regrettably bowed out of the project. It was a tough decision. The concept was a good one. It could have made a good exhibit somewhere. But after a lot of soul searching and rumination I determined that it was mostly a huge diversion from the work I need to be doing.

My time in the studio is limited - by life and by my evidently faulty time management skills. The large quilts that I want to make take many, many hours. Heck, my small work takes many hours!

I'm working hard at focusing my efforts. Some of that involves setting boundaries and saying "no" to some things. My mind is always reeling with ideas. Part of the limits I need to set involve not pursuing every idea. That is really hard for me - I want to make it all!  But --- there just isn't enough time in a day, or a year. I must home in on one or two main concepts to pursue.

For now, for me, that means letting go of outside projects that don't lead toward my goals.

So --- That leads me to something else I've been thinking about.....

Lately I've noticed a lot of these collaborative groups popping up. I suppose this type of thing has been around for awhile, but it does seem to me that they are becoming more prevalent.

I think in the past they consisted more of people who lived close to one another and got together in person. The new groups I see forming are taking advantage of online connections and often consist of people from various far-flung reaches. They are able to connect and show a cohesive unit through blogs, websites, and Facebook.

I will confess that when I'm reading about some of them I immediately think, "What a distraction!" I mean, stopping everything to divert into creating a new piece based on some arbitrary theme.

Maybe it's just me. I admit that my decision is largely based on my need to expand my own cohesive body of work. I just can't take the time away from that right now to distract myself in some other direction.

My questions to you are.....

• Do you belong to a collaborative project group? Do you want to join one or start one?
• What is the benefit to you? or.....
• Is it a distraction from your regular work?
• If some "big name" artist(s) asked you to join up, would you? Why?
• Do you enjoy working to a chosen theme? Particularly a theme chosen by someone else.

Please leave comments. I would like to know your thoughts on the subject.

Until next time -

MCH