drawing to see, drawing to notice.

Drawing has always been a great leveller for me and now is no exception. I make drawings to capture something I like the look of even if I haven’t got a clue how it might be useful at that time. Picked grasses, a homegrown tulip or a fragment of fabric all provide challenges that relax me but also creatively inspire my lifetime of looking to draw – it’s not a coincidence there’s a play on words with drawing in my blog name.

Having some time spare while sat in the car at the local farm shop car park three weeks ago I took a good look around me at the view and with the luxury of time I took out my sketchbook and drew a line. This was a landscape already familiar, but in drawing a subject it is with a closer examination that one can see more.

Firstly I noticed the skyline meeting with the trees in the distance but as I drew that line it was being interrupted by the nearer trees cutting over the fluidity of the horizon. The trees contained strong shapes but not as the summer masses they will hold in full leaf in due course. The branches were clearly defined, but the added haze of smaller branches suggested the fuller form.

I made reasonably quick sketches of the same view several times, each time starting with a different area as a focus. Sometimes it was the gap between two trees, or a distant field and as I became more familiar with the shapes in front of me I engaged with details of branches to define the structures of the trees. I focused on three clusters of trees that provided different visual qualities but were united by the view.

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The process of drawing and re-drawing the same thing is something I love to do – just as Monet would have painted the same cathedral or hay stacks. Where Monet was fascinated with the changing light and what that did to the colour and shadows, for me it is a process of understanding and familiarising in order to stylise and to interpret, usually in line and shape. As I get to know my subject I can edit in and out the information to simplify what I am seeing in working out how to record it.

This blog post shows the same landscape being drawn on three different trips to the farm and I think you can see the familiarity allows for more freedom of the information I saw and captured. In week 2 I also took to scissors to cut out the shapes in pieces of white paper, asking myself to identify the positive and negative shapes within the landscape – see the image below. I cut out the same trio of trees several times and they work well layered, as the interpretations of the same subject matter is similar but evolves too.

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This notion of repetition in order to get to know something is a really key part of my practice as a pattern designer and I’ve evolved this relationship in my drawing over the years. As far back as art school I drew and printed in series of works on paper, with the evolution of seeing in order to pare back being the really important part of my process. I teach drawing as a ‘getting to know you’ strategy too. I suggest a student does not spend the first hour asking the really personal questions of the subject sat in front of them, but to make small talk, get to know the subject superficially first of all, then you can be more up close and personal over time. I think I’ve written about this somewhere on the blog before.

I’m really pleased that within a very short time of drawing I have looked, learned and recorded the view, and once again taken away my way of seeing that landscape overlooked by so many of us in our day to day routines. I’ve returned to this task and now have about twenty drawings from three consecutive visits. The trees are hinting at holding more green but the summer fullness is a while away for now. The buzzard circles and the tractor gets to work, I shall be back again, see below for the drawings in week 3.

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working with nature and nature working with us

One of the things that has inspired and influenced my creative practice is how we work with the land; to farm, build roads, wear the paths where we shouldn’t walk as well as create boundaries. These are signs of man asserting influence over nature, and the natural landscape. Of course the way things were thousands of years ago will never return but modern-day farm machinery and larger field sizes are two things that have shaped our contemporary countryside.

I have never quite understood topiary but am intrigued when I see orchards with heavily structured boughs, turning a natural system in to a geometric diagram. We ask nature to do what it does not naturally want to do. We expect plants to grow in the wrong soils, because we like the look of them despite our climate, and we can be unforgiving if a ‘weed’ dares to grow where we don’t want it to.

With this in mind I do like to see subversive and anarchic challenges from nature, and nature trying to make its mark where it shouldn’t. Like graffiti on the wrong walls; art in a gallery, vandalism on the streets, plants do sometimes have their own agenda. I found this beautiful plant surviving, flourishing even, in the mortar of a very old wall in Ledbury. It made me laugh. It wasn’t the usual ivy or buddleia, but a beautiful primula, proud as punch of its achievements. Okay, so the leaves are rather small relative to the flower heads but I couldnt help feeling rather pleased for it too.

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