Day 7 – from thinking to feeling

My drawings too a different approach today, I was no longer thinking as much but looking. I was also looking from a different perspective; I was not just looking at the shapes, relationship and negative space but rather feeling it, drawing it from my sensations.

It was like I had gone from learning to see through drawings, to stop the thinking, to allow my artistic, my feelings to come through.

I found my work was flowing a lot more, with continuous lines, and fewer lines

I found my work was flowing a lot more, with continuous lines, and fewer lines needed to capture and express my sensations from what I was observing.

It was less like an illustration but more real in capturing my emotions, and my character. There was less writing, on the wall you can see how it progresses from verbal thoughts to seeing, to feeling.

Also as I was doing what I felt they became mini meditations and focuses, the need to draw and capture the whole face and body was gone.

I’m going to experiment with capturing moments from how I feel and what captures my eye rather than having a preconceived idea or need to capture everything that it has to look in a certain way.

Sensation drawings

‘Qualities of drawings and painting don’t matter a bit here, it is the sensation, the feeling for the picture, that is everything’[i]

‘By approaching the process with out the need to copy a likeness your experience is richer.’[ii]

‘To combine observation with sensation bridges the gap in our knowledge and understanding. The information gained is not superficial; it is a personal investigation and selection.’ [iii]

‘A standard definition of the term illustration is ‘an example used to explain something’ it is visual translation of what we think we see, a reproduction of how we think something looks from a single view point. However, when you are painting you are not explaining anything; you are giving form to your sensations, you are inventing an image that did not exist before.’ [iv]

‘For you as an artist, using sensations to inform your response to things is essential to developing a successful and pertinent language in painting and drawing. It can be combined with observation to powerful effect, enhancing an image and bringing back the sensation with greater intensity.’ [v]

‘Although the work that results does not look like a copy of the object it can stand alone as a powerful image that evoke the experience of the subject with more intensity and interest.’ [vi]

[i] Speed, Harold. The Practise and Science of Drawing. USA: Dover Publications, 1972, page 217.

[ii] Ball, Emily. Drawing and painting people a fresh approach. Wiltshire: The Crowood Press Ltd, 2009, page 61.

[iii] Ball, Emily. Drawing and painting people a fresh approach. Wiltshire: The Crowood Press Ltd, 2009, page 23.

[iv] Ball, Emily. Drawing and painting people a fresh approach. Wiltshire: The Crowood Press Ltd, 2009, page 65.

[v] Ball, Emily. Drawing and painting people a fresh approach. Wiltshire: The Crowood Press Ltd, 2009, page 21.

[vi] Ball, Emily. Drawing and painting people a fresh approach. Wiltshire: The Crowood Press Ltd, 2009, page 23.

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