SCOTT
To get the 'interview' ball rolling, I decided to approach our local minister, Scott McCarthy. Scott's a well known
face around town - not only to those who attend the local church where he holds court. With consideration I
decided to make an audio recording of our conversation as well as photograph Scott, as we talked. On reviewing
Eye's article on Olivier I was able to see his 'set up' and simply adopted a similar approach. I didn't draw as we spoke.
Having carried out this 'interview' I can now reflect upon the process.
Carrying out a conversation that might bear fruit is one thing, to do so whilst taking photographs and mentally
composing possible illustrations is very difficult. If I was to also draw as I attempted to do all of those things, I would
achieve very little. I certainly don't think I would have to breadth of reference to allow me to create a piece of work.
I didn't take as many photos as I thought I did. Whilst I was able to create work from them , so in this instance it's not a
problem, I was surprised to see how few I'd taken, despite feeling like I'd taken hundreds. I felt awkward and self aware
of the camera between us. Thoughts for next time: take more photos. Get over the self consciousness and just snap
away. Also, don't be reluctant to move around and to manipulate the scene for better success - in this instance I did
rearrange some furniture as we talked.
Photo Library available here
To get the 'interview' ball rolling, I decided to approach our local minister, Scott McCarthy. Scott's a well known
face around town - not only to those who attend the local church where he holds court. With consideration I
decided to make an audio recording of our conversation as well as photograph Scott, as we talked. On reviewing
Eye's article on Olivier I was able to see his 'set up' and simply adopted a similar approach. I didn't draw as we spoke.
Having carried out this 'interview' I can now reflect upon the process.
Carrying out a conversation that might bear fruit is one thing, to do so whilst taking photographs and mentally
composing possible illustrations is very difficult. If I was to also draw as I attempted to do all of those things, I would
achieve very little. I certainly don't think I would have to breadth of reference to allow me to create a piece of work.
I didn't take as many photos as I thought I did. Whilst I was able to create work from them , so in this instance it's not a
problem, I was surprised to see how few I'd taken, despite feeling like I'd taken hundreds. I felt awkward and self aware
of the camera between us. Thoughts for next time: take more photos. Get over the self consciousness and just snap
away. Also, don't be reluctant to move around and to manipulate the scene for better success - in this instance I did
rearrange some furniture as we talked.
Photo Library available here
To start with I decided to just draw. No pressure to try and capture anything in particular. Certainly there was none of
that "this might be the drawing" that can creep into the thought process when a drawing starts out well. I was open
to making bad drawings. I felt that this approach allowed me to 'learn' my subject. I don't usually use pencil, I don't
like the mess but I used pencil for some of these drawings, feeling that it added an extra dimension of freedom;
knowing that I wouldn't be fully satisfied with the drawing allowed me to better turn off my critical judgment whilst
producing it.
that "this might be the drawing" that can creep into the thought process when a drawing starts out well. I was open
to making bad drawings. I felt that this approach allowed me to 'learn' my subject. I don't usually use pencil, I don't
like the mess but I used pencil for some of these drawings, feeling that it added an extra dimension of freedom;
knowing that I wouldn't be fully satisfied with the drawing allowed me to better turn off my critical judgment whilst
producing it.
I enjoy the sense of expression that comes from exaggerating elements without the image becoming cartoon.
In this instance the legs and feet are forced into the foreground. Thinking about my 'the right amount of wrong
idea. I'll have to try and give up some control in a broader way than I'm already used to.
That ink wash backdrop is also an interesting proposition in terms of the 'flavour' that the final outcomes might take
- see William Stobbs.
In this instance the legs and feet are forced into the foreground. Thinking about my 'the right amount of wrong
idea. I'll have to try and give up some control in a broader way than I'm already used to.
That ink wash backdrop is also an interesting proposition in terms of the 'flavour' that the final outcomes might take
- see William Stobbs.
The first drawing that held a likeness as well as displaying a confidence of line that I was happy with. The value in doing
a lot of loose drawings is that you are forced to consider and reconsider the face you are drawing; to learn it.
Compositionally it's possibly a little too enclosed to be considered as a final drawing. The hand's great though.
a lot of loose drawings is that you are forced to consider and reconsider the face you are drawing; to learn it.
Compositionally it's possibly a little too enclosed to be considered as a final drawing. The hand's great though.
Rod Stewart? The playfulness of the sketchbook page is good here - the way the amage breaks up the space and the way
the type helps draw the eye around the frame is also working well. The nose; less so.
the type helps draw the eye around the frame is also working well. The nose; less so.
Bingo! Owing it's composition to the first thumbnails with the forced perspective on the legs. I buggered up the arm
(too long) but worked around it - 'the right amount of wrong' - and am happy with the character it brings to the drawing -
as well as the over large show and stylised hand. Between here and completion there is room to bring some more
wrong to the drawing. I must be careful to fully consider the intention of the piece now, not get pulled toward 'it's a good
drawing' again.
(too long) but worked around it - 'the right amount of wrong' - and am happy with the character it brings to the drawing -
as well as the over large show and stylised hand. Between here and completion there is room to bring some more
wrong to the drawing. I must be careful to fully consider the intention of the piece now, not get pulled toward 'it's a good
drawing' again.