Expressive Drawing – Foundational Structure

Finding a Structure
Expressive Drawing - Chapter 10 - Build 2
Acrylic on Paper
59.4cm x 84.1cm (23.4" x 33.1")

I enjoyed the last chapter of Expressive Drawing by Steven Aimone. I’d lost my way for a few chapters but picked up the threads for a last hurrah.

Chapter 10 is about foundational structure. Stephen says:

Foundational structure occurs when a series of shapes join to cover (or engage) the entire drawing space, holding the space together in rock-solid fashion.

He calls foundational structure the drawing beneath the drawing. It can be obvious or implied and can supply a drawing with clarity and coherency.

Developing a Grid
Expressive Drawing - Chapter 10 - Build 1
Acrylic on Paper
59.4cm x 84.1cm (23.4" x 33.1")

The chapter explores, two types of structure: the grid (not necessarily square) and large underlying shapes.

Playing with a Grid
Expressive Drawing - Chapter 10 - Play 1
Collage
20cm x 20cm (8" x 8")

The play exercise involves drawing horizontal stripes on a square piece of paper, cutting the paper into 64 squares and then rearranging them. Steven suggests repeating the exercise a few times; which I did and even drew one of the resulting patterns.

Playing with a Grid
Expressive Drawing - Chapter 10 - Play 1
Graphite Pencil on Paper
20cm x 20cm (8" x 8")

The first build exercise is about working with a grid. In the first part, you draw a grid and respond to it as you draw. In the second part, you start with some automatic drawing (see Expressive Drawing - The Drawing Process) from which you allow a grid to evolve and to inform the rest of the drawing.

Starting with a Grid
Expressive Drawing - Chapter 10 - Build 1
Charcoal and Wax Crayon on Paper
59.4cm x 84.1cm (23.4" x 33.1")

The second build exercise has a similar format, but is about working with underlying shapes.

Planned Structure
Expressive Drawing - Chapter 10 - Build 2
Acrylic on Paper
84.1cm x 59.4cm (33.1" x 23.4")

Elaine and I are planning to frame the painting/drawing at the top of the post to go into our sun trap dining room - it is too brightly lit for us to hang any delicate or valuable art. I'm considering tidying up the top right-hand corner of the picture before framing it.

Finding a Structure - Tidied
Expressive Drawing - Chapter 10 - Build 2
Digital from Acrylic on Paper

What do you think? Should I tidy it or leave it?

Drawing and Painting the Landscape – Constructing Space

Coaley Peak
Constructing Space - Drawing and Painting the Landscape
July 2019
Watercolour
Stillman & Birn Alpha Series Sketchbook
30.5cm x 12.5cm (12" x 8.5")

Lesson 9 of Drawing and Painting the Landscape by Philip Tyler is about using perspective to convey depth in a picture.

Constructing Space 3
Constructing Space - Drawing and Painting the Landscape
July 2019
Ink
Stillman & Birn Alpha Series Sketchbook
21.5cm x 18.5cm (8.5" x 7.25")

The lesson starts with an exercise to create a perspective grid as a frame of reference for a room receding away from the viewer. Philip then explains how a recessional grid can be a frame of reference for the rise and fall of the real landscape. I used this concept while sketching the view of Coaley Peak. It is one of Elaine, Doris and my regular walking spots. The last time we went there with Mum and Dad there were para-gliders launching themselves from the other side of the hedge.

Constructing Space 5
Constructing Space - Drawing and Painting the Landscape
July 2019
Ink
Stillman & Birn Alpha Series Sketchbook
21.5cm x 18.5cm (8.5" x 7.25")

Philip’s instructions for drawing the perspective grid are good, apart from the steps to make the grid look square - I found them arbitrary. My grid does not look square and the grid in the book does not look square. I searched the internet for alternative explanations, but most descriptions fudge the issue. Eventually I found a detailed geometrical / mathematical explanation of perspective (Handprint - elements of perspective). The author, Bruce MacEvoy puts an immense amount of effort into research. Handprint contains a wealth of information about watercolour. I always consult it when buying new paints, but I didn’t realise it had a section on perspective.

Perspective Notes 1
Constructing Space - Drawing and Painting the Landscape
September 2019
Ink
Stillman & Birn Alpha Series Sketchbook
18.5cm x 21.5cm (7.25" x 8.5")

Understanding the theory of perspective to this level of detail is not top of my learning to draw and paint to do list, but it will keep nagging at me until I find time to read and understand it. As I read it, I am adding clarifications in my sketchbook. I had to consult Sarah for a reminder of  mathematical notation – thank you for your help Sarah.

Drawing and Painting the Landscape – Cubes

The Queen and Albert
Watercolour and Ink
Moleskine A4 Watercolour Album
297mm x 210mm (11.69" x 8.27")

Chapter 3 of  Drawing and Painting the Landscape by Philip Tyler is about perspective. The chapter begins with simple perspective (see Drawing and Painting the Landscape – Simple Perspective). Lesson 8 continues the topic by looking at the impact of perspective on cubes and objects that are at an angle to our line of sight or inclined either uphill or downhill.

There isn’t a clearly defined exercise, so I drew this view of the cubic Queen and Albert Bed and Breakfast in Stratford, Ontario from a photo I took when Elaine and I stayed there in June 2011.

I also took the opportunity to practice the skills I recently picked up from Liz Steel’s SketchingNow Watercolor course  (see SketchingNow Watercolor (Lessons 1 to 2) and SketchingNow Watercolor (Lessons 3 to 4)).