In my own practice, drawing takes a front seat much of time, as it probably does for others. That's because it's easy to draw; all you need is a surface and something to make marks. Painting is much more complicated. So when an artist sees something remarkable or memorable, drawing is usually the first thought.
Long ago, when I was beginning, I read an article about the virtues of sketching and drawing. I remember almost nothing about the piece except the exhortation to "fill your sketchbooks." At the time it seemed to me that filling even a single sketchbook would be the work of months if not years. But as time passed and images piled up, so did sketchbooks. Those sketchbooks are now useful resources for painting ideas, review of methods, and a look back at skills acquired or honed.
Here are a few drawings that have survived.
|"Gettin' Funky,"graphite, 2014|
|"Reverie," silverpoint, 2016|
Next is a silverpoint, done on a toned gesso panel. Silverpoint is a considerably more deliberate drawing medium than most others because it's nearly impossible to efface the marks once laid down. In this image I used memory and a photo reference to evoke a dreamy state of mind. This image is larger than usual to show the silver marks.
|"Biddy," brush and ink, 2015|
The final image is a sketch I did using black ink and a round watercolor brush. Brush drawing with ink is a method that has entirely gone out of fashion since the middle of the 20th century. This is a copy of an image in one of the Famous Artists School textbooks. You can see the brush marks but there are no touches with a pen in this drawing. As an aside, those books are useful as guides to certain kinds of drawing and composition. The series I have are from the early 1950s.