Fran O’Neill’s Giant Figures Workshop, Day 2

Today we models in a changing interior, as the models moved between poses. I drew with my vine charcoal taped to a 4′ dowel so I could stand back and still reach the paper. The stick was a physical luxury so I didn’t have to reach high and low to reach the expanses of my paper. I also appreciated that I could see the whole composition while I placed objects in space, so I didn’t get hyper focused on one part of the drawing. I didn’t worry about the specificity of each individual line. Instead, I drew in a way that allowed the drawing to coalesce slowly in front of me. The entire drawing was built at the same time, with lines put in each panel instead of drawing one object at a time, or blocking in the big shapes.

The charcoal on the dowel meant that I had to work very slowly, but there was no rush. It was fun, and calming. There were no mistakes, only marks on the page. Drawing this way leaves a lot of air in the drawing, and lets me think about movement and relationships of forms. It’s alright the way it is now, but I could also keep working on this sketch for days, weeks. I’d draw until it was dark with charcoal, and then I’d start erasing, to draw with light. This paper only gets better the more you work it. Unfortunately, it’s time to go home.

There is one shift in the drawing you might notice, if you’re looking carefully: I’m right handed, so my right arm drew on the right side of the paper with only a short bit of dowel. You can see the marks here are dark and seem more decisive. On the panels to the left, I was using the full length of the dowel, and had much less control. It vibrated and bounced, and the reduced pressure at angle made lighter more tentative looking lines. Not completely, I did move around, but you can see it a little. The mood of the marks is part of what I love about drawing with the stick.

I drew all day. Then I went home and I wanted to draw. The next morning, I wanted to draw again. I drew all day again. I don’t ever want to stop.