Architectural drawing and paper preparation

We knew that architectural drawing was going to be hard.

First we prepared paper with colours and stains as you can see below.... dirt, coffee, waterclour. But the purple and blue were made by the coloured berries below the picture. Some people also applied colour using flower petals from the garden.

Then when the paper was quite dry,  we covered the sheet with charcoal

 then we chose a subject and worked on rubbing the charcoal off again to create the white, and filling in with black compressed charcoal  to achieve the darks - you can just see the colours of the preapared paper peeping through

Pastel drawing

This was a new technique for me,
Start with the basic drawing using a mid tone - a contour drawing essentially in a colour not related to the subject - in this case, persimmons.
I chose purple.
Next step is to fill in the lights and darks using complementary colours - again, not related to the local colour - i.e. greens and blue for sky etc.

The next step is to complete the drawing with local colour - i.e. the colour you can actually see, but leaving some of the under colour showing in a sketchy kind of way.

It was a very challenging exercise set by Suzi Davidoff, but it was rewarding as the finished work has a depth that would not be there otherwise.

Solar Plate Etching

These are the proof prints from the plates I created on the Flatbed Press Summer Intensive at La Romita.
They are black and white - to see what is on the plate. Now I need to add some colour and chin colle etc to mae them come alive and be a bit more interesting.

Last drawing of the course

I was keen to draw together some of the techniques and ideas that I had gathered over the 2 weeks.
I began by preparing paper with some ink stain and some watercolour.
Then I pasted rice paper prints from my printmaking series on top of the paper and let it dry thoroughly

Then I took myself out into the garden to where I drew on the first day of the drawing class, and chose the same bush (it meant I could stay in the shade) and spend the day drawing on and off.

And here is the final  result.

I think that it worked well

Chine colle

This is a test plate that I chine colled. I had been trying to determine the right density of black and white for a transparency to make a solar plate, and my teacher Katherine in kindly made a small plate for me to test. It is  about 4 inches square and I quite like it

Chine colle is when you combine the print with another loose piece of paper - in this case it was yellow paper.

Drawing with Suzi Davidoff

This is the first charcoal drawng I did on the course with Suzi Davidoff as my teacher. She is a very inspirational and enthusiastic mentor. We started with an ink and charcoal wash - being careful not to cover too much of the page. Then we went into the garden and did a contour charcoal drawing using a soft charcoal pencil. I focused on an oleander shrub and began contour drawing - 90% looking at the flowers and leaves. and 10% looking at the paper. This contour drawing formed the basis of the drawing - the skeleton. Then we went back and sometimes kept the line from the initial contour drawing and sometimes just left it in the background or sometimes erased it. The drawing was built up and eventually finished using many layers of drawing and charcoals. Here is a detail to explain how the contour information sits in the background.

And the finished work

I love the technique

From the garden in Terni

 a very hot summer day - some plants from the garden on the marble table