To describe my materials in one word, the word would be "simple". The materials are chosen for their simplicity, and the small sensuality that I enjoy in them.
My drawings are graphite or charcoal on paper; usually graphite for the smoothness of the line, and the shine of the graphite. Charcoal is never forgotten though, the mat black is used sparingly. I always stick to black or grey tones, there is no colour in my media choice. The support has so far always been paper, a few in particular, but I do go through a range. I prefer smooth paper, I find it works best with my adding and subtracting, and usually whites, sometimes BFK cream or grey if feeling especially jolly. That is the extent though, I like the purity of black marks on white. The starkness perhaps.
The drawings are usually large, least a full sheet of paper, sometimes multiple sheets connected, or a large sheet; the expanse of space is enjoyed. I work in an additive/subtractive method, of using the eraser as a drawing tool as much as the pencil.
The paintings are on stretched canvas, though wood is not ruled out. Gessoed, sanded, and toned. Oil paint is what I use, with other media sometimes used like pencil, oil stick, spray paint. I would not call myself a mixed media painter though, does not seem a need to make that distinction. The palette range is very different than my drawings, the palette seems endless, pastel to neon to earths and darks. I am unsure of the distinction between the drawings and painting in terms of colour range as of yet.
The painting do start off usually as a sketch, drawn and redrawn till it feels right compositionally. Then it is drawn on the canvas, freehand, the grid doe not hold any appeal to me. Then light washes, undercoats and darks are applied, sometimes glazed, usually alla prima; due to time constraints.I have been introducing other mark making ways in to my painting, but still always feels like an oil painting to me.
The intaglio etchings are of an average size to myself, though some may consider them large. They are similar to the drawing in that there is an absence of colour, and the support is white, again that starkness. Created either on zinc or copper plate, not a big difference to me except in some technical factors.
They are created using the full range of intaglio techniques, and while printmaking is definitely more process based, they do not differ to me too much from my drawings. They seem of the same sort.
The subject matter, sources and influence, need some more time to digest.
Write some more later.
My drawings are graphite or charcoal on paper; usually graphite for the smoothness of the line, and the shine of the graphite. Charcoal is never forgotten though, the mat black is used sparingly. I always stick to black or grey tones, there is no colour in my media choice. The support has so far always been paper, a few in particular, but I do go through a range. I prefer smooth paper, I find it works best with my adding and subtracting, and usually whites, sometimes BFK cream or grey if feeling especially jolly. That is the extent though, I like the purity of black marks on white. The starkness perhaps.
The drawings are usually large, least a full sheet of paper, sometimes multiple sheets connected, or a large sheet; the expanse of space is enjoyed. I work in an additive/subtractive method, of using the eraser as a drawing tool as much as the pencil.
The paintings are on stretched canvas, though wood is not ruled out. Gessoed, sanded, and toned. Oil paint is what I use, with other media sometimes used like pencil, oil stick, spray paint. I would not call myself a mixed media painter though, does not seem a need to make that distinction. The palette range is very different than my drawings, the palette seems endless, pastel to neon to earths and darks. I am unsure of the distinction between the drawings and painting in terms of colour range as of yet.
The painting do start off usually as a sketch, drawn and redrawn till it feels right compositionally. Then it is drawn on the canvas, freehand, the grid doe not hold any appeal to me. Then light washes, undercoats and darks are applied, sometimes glazed, usually alla prima; due to time constraints.I have been introducing other mark making ways in to my painting, but still always feels like an oil painting to me.
The intaglio etchings are of an average size to myself, though some may consider them large. They are similar to the drawing in that there is an absence of colour, and the support is white, again that starkness. Created either on zinc or copper plate, not a big difference to me except in some technical factors.
They are created using the full range of intaglio techniques, and while printmaking is definitely more process based, they do not differ to me too much from my drawings. They seem of the same sort.
The subject matter, sources and influence, need some more time to digest.
Write some more later.
