Recently I posted about our family of New York Studio School influences, and Tina Kraft. I found a few more drawings that show aspects of a process that changed the way I draw.
These portrait sketches by Tina Kraft demonstrate a technique of using marks to activate the white paper. The marks are both in and around the head, describing the figure as well as the space around it, even the process of drawing itself. By jumping from mark to mark we learn the relationship of one point to another: the eyebrow to the mouth, the mouth to the shoulder. Our eyes are invited to follow the artist as she touches the back of the head, then touches the wall, then comes back to the head. By following her pathway of observations we learn about the space and the surface. Some marks are points to locate on objects, some are imaginary measurements that float like spider silk between elements, relating the subject to the act of drawing as observation (verb) to the physical drawing itself (noun). For all the space and form and curious searching that they describe, they also remind us that they are marks on flat paper.
On January 6 I posted a challenge that was inspired by John Oliver on Last Week Tonight. The challenge was to imagine what Julius Pringles looks like below the neck. We had so many fun submissions that I felt they deserved to be in their own collection. Here they are, in their crispy glory, starting …
This is one in a series of posts showcasing work made by students in the League’s online classes. We have now been in quarantine for twelve months. In the last year, the League has grown in numbers, and our artistic voice as a school has evolved. We started working with Special Guest Star Fran O’Neill …
[image_with_animation image_url=”8958″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] In the April 13, 2018 V. Note, I was Looking Closely at JS Sargent’s Portrait of Henry James. In the post I got all up in that portrait, and guessed at Sargent’s palette, his brushes, and his process. Everything seemed to make sense except for a diagonal stroke of blue …
Tina Kraft: drawing the head and the wall
Recently I posted about our family of New York Studio School influences, and Tina Kraft. I found a few more drawings that show aspects of a process that changed the way I draw.
These portrait sketches by Tina Kraft demonstrate a technique of using marks to activate the white paper. The marks are both in and around the head, describing the figure as well as the space around it, even the process of drawing itself. By jumping from mark to mark we learn the relationship of one point to another: the eyebrow to the mouth, the mouth to the shoulder. Our eyes are invited to follow the artist as she touches the back of the head, then touches the wall, then comes back to the head. By following her pathway of observations we learn about the space and the surface. Some marks are points to locate on objects, some are imaginary measurements that float like spider silk between elements, relating the subject to the act of drawing as observation (verb) to the physical drawing itself (noun). For all the space and form and curious searching that they describe, they also remind us that they are marks on flat paper.
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On January 6 I posted a challenge that was inspired by John Oliver on Last Week Tonight. The challenge was to imagine what Julius Pringles looks like below the neck. We had so many fun submissions that I felt they deserved to be in their own collection. Here they are, in their crispy glory, starting …
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This is one in a series of posts showcasing work made by students in the League’s online classes. We have now been in quarantine for twelve months. In the last year, the League has grown in numbers, and our artistic voice as a school has evolved. We started working with Special Guest Star Fran O’Neill …
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[image_with_animation image_url=”8958″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] In the April 13, 2018 V. Note, I was Looking Closely at JS Sargent’s Portrait of Henry James. In the post I got all up in that portrait, and guessed at Sargent’s palette, his brushes, and his process. Everything seemed to make sense except for a diagonal stroke of blue …