Sulking because Inktober has ended?


Is it really over? So quickly?

Armed with my iPad and stylus I tackled this year’s Inktober with enthusiasm once I got past the ‘but it’s not ink’ dialogue in my head and focussed instead on doing a drawing a day for practice and fun. The prompts were at times challenging but always enjoyable. With my current focus on portraiture I tried to apply many of the prompts to faces which I had fun with.

I posted daily on a dedicated Inktober page on my site as well as on my Instagram profile but  also wanted to feature all 31 drawings together today, to counteract the collective Inktober-has-ended sulk.

Did you do Inktober this year? Post a link in the comments to your site featuring your drawings, I’d love to see them!

Below are thumbnails of all 31 drawings for this year’s challenge. I hope you enjoyed them as much as what I did drawing them.

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Artist Interview: Klara Jones


What do you do when one of your good friends is also an incredibly inspirational and dedicated multi-media artist? Well, you interview them of course! 🙂

The Interview

Who are you and what do you do? 

I can call myself an artist after 20 years of self doubt. I do painting, sculpture, printmaking, photography, but first and foremost, I draw.

Why do you do what you do? 

Because I cannot stop. I get tetchy and irritated if I don’t draw for a while.
Ideas also swirl through my head and, like winding up a clock, sooner or later it is fully wound up and ready to come out as a sketch, drawing, painting, etc.

How do you work? 

I get passionate about my project, read and research as much as I can, talk to friends/artists, sketch ideas as I go. I need to be alone once I start working. People distract me then. I’m currently working on the kitchen table as the studio room I have is too small and cluttered, and cold in the winter. I start the studio day doing household chores so I can then focus on my art without distraction. It would be a dream to have a studio away from the house. It is also helpful to have a few projects on the go, or an exhibition date to work to. Otherwise work (my other job), life, family, friends call me away.

 

What’s your background? 

I’m from a Central European background, Hungary and Romania. I have been told my subject matter and style is quite dark.

I’ve studied only through TAFE (Adult Education College), first with a certificate in art and design, then working towards a diploma in visual arts. Something I never completed, however it gave me skills in film photography and darkroom process, as well as painting, drawing and printmaking.

I found the more teachers one has over time, the more one learns.

I had to leave study to work and picked up a job as a graphic designer based on a folio of drawings.

 

 

What’s integral to the work of an artist? 

The freedom to explore. Supportive friends and family who respect my art as work. Being part of an artist community to share ideas and solidarity.

Permission to allow myself to go into the studio even if it’s not a productive day.

Discipline to stay in there when it’s a beautiful day outside or my art isn’t working out.

What role does the artist have in society? 

In good times, the artist can feed the soul with beauty or thought-provoking work. In bad times, the artist can feed the soul and create a temporary escape. Without artists, there would be no movies, fashion, aesthetics in architecture or cars, furniture, watches, clothing. It is all around us.

 

What has been a seminal experience? 

That moment for me was in 1986 at the Brisbane Art Gallery, QLD. I went to see the 20thCentury Masters exhibition of works from the Metropolitan Museum of Art, New York. I walked around a corner and saw Picasso’s ‘Woman in White’. The sight of it knocked the air out of me and staring at it was the moment I thought I must learn to create work as beautiful.

Explain what you do in 100 words 

I draw mostly, sometimes whimsical pen and inks, sometimes more serious portraits and nudes. I love the face, the body, the person. It is an endless exploration – from describing the curves and lines that create a figure, to the folly of human character.

I prefer black and white as so much can be described with tone, line and texture. Colour can sometimes confuse the message, although it has its uses for emotion and interest.

 

How has your practice changed over time 

I think I’ve grown more skilled and confident. I used to worry that I wasn’t selling work and making a living from it. For me now, it’s not about earning money, it’s about having something to say and sharing it. Also, I don’t need to worry about what will sell and making it ‘commercially appealing’.

It has always been about making people smile, feel an emotion or to think.

What art do you most identify with? 

The line. Whether it is drawing, etching or big calligraphic brush strokes.

What work do you most enjoying doing? 

Drawing. Whether it’s the feint spidery tickle of pencil on cartridge, the dark, thick smudge of charcoal or the danger of nib pen and with Indian ink (danger being the potential to splat on the page if I am not concentrating).

Or, I could say, whatever I am doing when the flow hits me.
When I paint, I fall in and out of love with the painting depending on what stage it is at.
I love the technical side as well, so printmaking or working in the darkroom developing photos is great.

 

What themes do you pursue? 

Human nature and story telling. I’m currently reading Grimm’s tales. It works on so many levels: love, escape, morals, adventure, the protagonist ending with success, good guys, bad guys, tragedy, sometimes magic or a gift, evil, fragility, resistance, honesty, bravery, perseverance.

What’s your favourite art work? 

That is tough. It’s like asking what is my favourite song.

Probably depending on my mood at the time.

Many artworks.
Woman in White remains one of my favourite paintings. It is serene, multi-layered but with simple, muted colour. William Dobell’s portrait of Helena Rubenstein in the NGV Australia. A wood bas relief of Salome from the 14thC in the NGV International. Eastern European religious icons. Otherwise, anything by Caravaggio or several Australian and local Gippsland artists.

Describe a real-life situation that inspired you? 

Warsaw National Museum, a student, Erik, from the Warsaw Academy of Fine Arts, was painting a 1:1 scale of Jan Matejko’s ‘Battle of Grunwald’. Size of the original is 10 metres wide x 4metres deep. Erik was painting it in twelve panels over two years. His dedication to the project made me think to lift my game.

I also know two art teachers, who are partners. They both work fulltime and raise a child. They each take a turn in the studio after work whilst the other sorts out the family, dinner and housework. This is discipline. And it works.

Why art? 

Art is important to life. My life. Also to everyone. To live without it would make life dull.

What is an artistic outlook on life? 

Seeing beauty in small things or trying to draw attention to the everyday.

Problem solving by not always thinking logically.

What memorable responses have you had to your work? 

My first solo exhibition. I had no idea if anyone would turn up. It was crowded and I sold 2/3 of the work on opening night. As much as selling the work wasn’t so important, it was validation that it was worthwhile and people connected with it.

A few people said they had cried when they saw pieces I had made.

 

Is the artistic life lonely? What do you do to counteract it? 

It can be lonely. When I’m busy or have limited time I don’t notice it.

I might take a little break or an evening off. Spend time with my partner or call family or a friend.

When people come to visit I cannot work and have to pack up and pay attention to them. I must be careful not to spend too much time alone.

What do you dislike about the art world? 

One comment about me once, “but she only draws.” No he hadn’t seen anything else I have done over the years but the comment was still insulting.

I see drawing as a means in itself, not a means to an end.

Art investment that follows trends, rather than talent.

Pretentiousness with only mediocre work.

Snobbishness – when one must have the right CV to become short-listed for an art prize and come from the ‘right’ art school. It should be judged on how accomplished and imaginative the artist is and the artwork should speak for itself.

 

What do you dislike about your work? 

That I only draw.

Sorry, no, that’s not true.

That I don’t draw enough.

That I don’t do anything enough.

That I can get distracted.

That I thought after 20 years I would be more accomplished. I see art and skill as levels. Always chasing the next level and hoping not to go backwards.

What do you like about your work? 

I like when I get it right and cannot criticise it. I enjoy looking at some pieces even years later.

Should art be funded? 

Well, YES!

What role does arts funding have? 

It allows artists the chance to explore their ideas without compromise, pays for art material, allows communities to have projects when they couldn’t otherwise realise their ideas. There is a cultural aspect to a society and part of the government’s job is to promote the culture within the society.

 

What research do you do? 

Internet, reading books on topics, techniques, visiting galleries, talking with fellow artists, or non-artists, on topics I might need to learn.

What is your dream project? 

The one I am doing – Grimm’s tales.

Then the next one…

Name three artists you’d like to be compared to. 

Sue Fraser, local Gippsland artist.

Kathe Kollwitz, German expressionist artist.

Aubrey Beardsley

Favourite or most inspirational place 

NGV International and NGV Australia in Melbourne. After his death in 1904, Alfred Felton left money to the National Gallery of Victoria, which has been used to invest in artwork, making it one of the best galleries in the world. I always have a little thrill when I see ‘Felton Bequest’ next to an artwork.

What’s the best piece of advice you’ve been given? 

Don’t start the details too early in a drawing. Keep it general for a while until you know it is correct.

Also, if the eye is in the wrong place (for example), even if it’s the best eye you have ever drawn, rub it out and correct it.

Professionally, what’s your goal? 

To be professional in my art and its presentation. To not settle for a lesser work if I can re-do it better.

What wouldn’t you do without? 

Staedler Mars Lumograph pencils. They’re not top-of-the-range, but are still smooth to draw with. I can carry them anywhere. Plus a sketchbook for sketching people, taking notes in galleries or thrashing out ideas anywhere, anytime. These two are the most basic things. Everything else is fluff.

Thanks so much for sharing your thoughts and processes with us Klara.

To see more of Klara’s work visit her Instagram page below:

Klara Jones, Instagram

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Practice drawing at every opportunity


If there is one single ‘truth’ in art it is that Practice is King. Since I’ve been taking my iPad with me wherever I go I have had many opportunities to practice my drawing without being too obvious about it. People get self-conscious when they know you are sketching them.

At our monthly portrait group meet up on Sunday I was grateful for the opportunity to capture facial expressions. My iPad drawings are rough, just quick planning sketches, some of which will become traditional oil paintings. I love the freedom that these quick sketches give me to not be too precious about the outcome and to have a source of inspiration to develop a larger or more complex work from later.

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I use a rubber-tipped stylus and a drawing App called ‘Sketches’, unfortunately my iPad is too old for newer drawing Apps like Procreate; but the App that I use serves my purposes well enough.

That’s my drawing tip for today. Thanks for visiting. 🙂

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Basic Shapes: Drawing Technique


Learning to draw can take years of practice, knowing some basic drawing techniques however will help to render accurate drawings in less time. In this post I will share another effective drawing technique that even new artists can practice with good results. Be sure to check out the Top Down Drawing Technique that I shared recently too. The source image for today’s drawing is from Gary Faigan’s book The Artist’s Complete Guide to Facial Expression. Today I am attempting to depict pain as expressed on the face.

The first step is to reduce your subject (or object) to basic shapes as shown below. A nose, for example, becomes a rectangle with small triangles on either side. The eyes are mapped in with two simple squares.

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Using these basic shapes as guides we then start adding more detailed lines, always trying to keep the elements proportional to one another, taking  into consideration how wide the eyes are in relation to the nose, how far apart etc.

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Once we’re happy with the placement of our elements we should spend some time refining the drawing, erasing where needed to make corrections or using heavier lines where appropriate as seen below. Shading consists of 3 parts, mid tone, darker tones and highlights. Shading is necessary to create a 3D effect. In the image below I have added my mid tone (and just started plotting out my darker tones.)

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The next step is to create definition by focussing on the darker tones. Here I used hatching to define the darker areas.

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I wanted more depth so added darker tones below.

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The eyes needed to be darker yet which I corrected below.

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Now all that is left to do is to add highlights. This creates the illusion that lighter areas are protruding from the face (whereas darker areas are receding.)

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I did this drawing on the iPad while researching facial expressions for my portraiture project. The convenience of iPad drawing suits me when I want to do a quick study like this example.

One thing we will never be able to avoid if we hope to improve our drawings is to draw as often as possible, every day if we can.

Give this technique a try and let me know how it works for you. Until next time, happy drawing!

 

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Top-Down Drawing Technique


Drawing can be a frustrating experience if we don’t have a fail proof technique. This is one of my favourites, known by many names including the top-down or ‘figure in the stone’ technique. In order to accurately capture the dimensions as well as plot the composition on the page one begins with quick broad strokes to capture the largest general shape first (demonstrated below in orange.) Once we’re satisfied that we have the overall shape as accurately as we can (taking note of angles in relation to one another) we ‘carve out’ negative spaces and angles in a generalised manner too, demonstrated in black pen below. Obviously this is all done lightly in pencil in a typical drawing.

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If we’ve done this correctly, adjusting as we go along until we’re satisfied with the angles, ensuring that our relationships / proportions are accurate, attention can be given to drawing in the details as demonstrated in the image below.

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This technique works with any subject matter, be it still life, landscape or portraiture. For demonstration purposes I drew a simple tea cup on the iPad which I coloured with digital watercolour and shaded with hatching.

If you’re frustrated by drawing give this method a go, and let me know if it works for you. Remember you can improvise as you wish once you have an accurate drawing on paper, allowing your personal style and creativity to flow freely. I deliberately wanted a loose style of drawing as can be seen by my pen strokes.

Cuppa anyone?

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Daily Prompt: Witness


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Post Humanism


What might we look like in a Post Humanism world?  My dark creative mind immediately conjured a dystopian future. Yeah, pretty grim stuff but someone’s gotta do it.

I had so much fun playing with iPad art in this project and was somewhat influenced by David Hockney during my artist research. For those of you who don’t know, Hockney is considered an influential figure in the British Pop Art movement and has embraced technology as a new medium with which to create art, the iPad being one of his favourite ‘canvases.’

Below follows an excerpt from my concept statement (to add context) and a few of the drawing outcomes.

My Post Human world visually focusses on a dystopia that dehumanises citizens through genetic modification. In this world people are divided into groups according to their designated roles and duties. Their bodies are genetically engineered to grow multiple body parts that facilitate enhanced productivity in their assigned social duties. Labourers are allotted extra limbs to enable faster and more efficient productivity; citizens designated to the breeding group develop extra wombs to facilitate multiple pregnancies simultaneously. Scientists and academics assigned to the ‘thinkers’ group grow extra heads, thus two brains instead of one; and law enforcers develop chameleon-type eyes that enhance their vision, enabling them to see in multiple directions at once.

Thanks for reading, now go make some art. On your iPad.

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Anndelize Graf. Thinker. 2018. iPad drawing & digital collage.

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Anndelize Graf. Labourer I. 2018. iPad drawing & digital collage.

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Anndelize Graf. Labourer III. 2018. iPad drawing & digital collage.

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Anndelize Graf. Breeder II. 2018. iPad drawing & digital collage.

 

 

Mark Making with the Body


While examining the marks we make on our environment with our body I decided to focus on an old pair of favourite shoes that I have thoroughly worn out. The stitching has come undone over the years leaving holes though which my toes peep. Old leather, old comfortable favourites like old friends that I feel sentimental about. Unlike old friends though I can no longer be seen wearing these in public, however they have pride of place in my art studio now where I wear them with great fondness.

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Artist Interview: Tracey Fletcher King


Australian artist Tracey Fletcher King is one of my top favourite contemporary artists. I simply adore her unique style of art. Tracey is a wonderful teacher whose enthusiasm and love for artistic expression instills confidence and pride in the work of her students. I could easily wax lyrical about how her work continues to inspire me, year in and year out;   instead here is Tracey to speak for herself in the interview below the demonstration video. I have no doubt that you too will fall in love with her work.

  • Who are you and what do you do?

I am an artist, and illustrator and a teacher. I work for a lot of companies producing illustrations of their products for them to use online and for marketing which is creatively challenging and a great way of keeping my eye in and my skills strong. I keeps sketchbooks which I draw in constantly, paint for myself and my own enjoyment, as well as to create prints to sell online, and work with an interior designer painting large scale abstract acrylic paintings which I love creating because they are the opposite of everything else I do. Plus there is online teaching. My life is one big creative ride

  • Why do you do what you do?

Because I can’t imagine doing anything else. It is never boring, I get challenged constantly and I get to change between different creative modes… it is kind of perfect so why mess with it.

  • How do you work?

I try, but usually fail to work in a very organised manner. I work long hours and have a lot of balls in the air so I tend to work on illustration in the mornings and painting and abstracts in the afternoon. I always warm up with a sketch or two, and often end the day the same way. Some days it works, but others I work all day on one thing or another. My big goal for 2016 is to take two days a week off from work. Not quite achieving that at the moment, but I am certainly getting better organised.

Tracey Fletcher King. My Week, Sept 2015, Watercolour and ink, 210mm x 297mm
Tracey Fletcher King. My Week, Sept 2015, Watercolour and ink, 210mm x 297mm
  • What’s your background?

I was an art teacher after leaving university. I taught in secondary and primary school environments before taking a break and traveling and living overseas over a period of 9 years. In that time I rediscovered painting and sketching for the love of it. I came home full time and went back to uni again and did a Masters in art education, majoring in creativity theory and ran a small art school. I then got into botanical art as a way to get my skills back and rediscovered the joy of keeping a sketchbook, and it has all gone on from there.

  • What’s integral to the work of an artist?

To work… I hear a lot of people complain they can’t think of things to paint or draw etc, but to me it doesn’t matter what you draw or work on just work… You will produce lots of rubbish work, but you will produce some gems as well. I do know that you won’t produce anything great unless you are actually giving it a go. Plus a “bad” painting or drawing can lead to many many new and interesting things to explore. The only way you can guarantee you won’t create anything you feel is of value is to be not working, so just bloody jump in and cram in as much work as you can.

  • What role does the artist have in society?

I think the artist has the role of being a recorder of the life of the artist. The sights, the emotions, the experiences… it is all about exploring a world visually. We are so good at talking about things, or reading about them, but we need to also explore visually, and with the rise of a technological based world and the increase in manipulation of images using photoshop and things. I think that artists bring an authenticity to the visual world.

  • What has been a seminal experience?

Having cancer and going through a year of heavy treatment. It changed everything for me on every level. It allowed me to be more fearless and open post treatment, and to not sweat any of the small stuff.

  • Explain what you do in 100 words

Look, see, draw, paint, create, explore, make, splash, film, edit, photograph, share, research, improvise and teach

  • How has your practice change over time

It has changed radically over the years. Some things stay the same in terms of techniques and materials, but mostly I tend to not plan or try to control the path of things, and so it goes where it goes. I adapt as opportunities come my way and see what happens. Sounds a bit airy fairy but for me control is the worst thing. Trying to force things is like a hammer to my creativity so I tend to just see what is coming up next and go with that. It has opened up so many more opportunities and made my work a lot more exciting and fun.

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Tracey Fletcher King. Crushing it, 2015. Watercolour and ink. 210mmx 297 mm
  • What art do you most identify with?

I love art with strong colour and great lines. I like artists like Cressida Campbell who manage to infuse the ordinary with a kind of magical atmosphere. Her lines and use of colour are so perfect they make me feel a bit giddy when I look at them. But I love strong colours like Matisse and the clear blues of Brett Whitely and the atmospheric landscapes of William Robinson. There are so many artists and styles of art that I am drawn to from contemporary work by people like Tracey Emin through to some of the contemporary Australian artist like Tracey Moffatt, through to more traditional depictions… I could write pages on this question alone so I might just leave it there.

  • What work do you most enjoying doing?

I like being able to mix it up between the illustrative style of work and large scale work. I enjoy the abstracts, but I have started creating large canvases of close ups of floral blooms, and things I love like perfume bottles and am very inspired by that direction at the moment.

  • What themes do you pursue?

I like art as a record of my life and the world around me. I am not into big themes so much as recording my world and interests visually. That is what interests and inspires me.

  • What’s your favourite art work?

I couldn’t choose… that is like a Sophie’s Choice type question for me… how could I choose without upsetting other ones…

  • Describe a real-life situation that inspired you?

Real life inspires me every day. I try to find inspiration in the objects and items around me and it is endlessly inspiring once you give yourself permission to examine the mundane as subjects. I love that my morning cuppa can inspire me to pick up a pen and brush. That is what it is all about I think.

Tracey Fletcher King. Minis. 2015. Watercolour, ink and gouache. 150mm x 220 mm
Tracey Fletcher King. Minis. 2015. Watercolour, ink and gouache. 150mm x 220 mm
  • Why art?

There are other things in life???… Other ways to express yourself??? Who knew… Can’t imagine anything would do as good a job as art

  • What is an artistic outlook on life?

An artistic outlook to me means that you look for opportunities to find the visually interesting parts of your world. That you look to be inspired and express yourself.

  • What memorable responses have you had to your work?

The most memorable are often the negative… people belittling what you do, dismissing it as feminine and not dealing with big themes… things like that. Or people being surprised that you created something… the good old… you did that??? You? Really? Never would have picked that… I have taught myself to  loooove those comments because it reinforces that I am pushing myself , that I am not leading the expected life and that I am being true to me.

  • Is the artistic life lonely? What do you do to counteract it?

I quite like the alone ness of it… I don’t feel lonely and quite like hiding in the studio and creating, but I find it hard not to have people around me who can understand the process and the trials of creating. For that I have some good friends both in real life and online who I chat with regularly and skype with. Being able to chat to a fellow creative on the other side of the world and show them what I am working on and discussing it in real time is one of the great joys of the time we live in I think.

  • What do you dislike about the art world?

I hate the elitist attitudes, the misogyny and the crap that goes along with so much of it. No time for that rubbish and posturing.

  • What do you dislike about your work?

Not much to tell you the truth. I try to not judge or reflect on the actual work too much as I think it is counterproductive… I wish I was more organised I think… but overall despite it sounding a tad arrogant. I kind of like what I do.

  • What do you like about your work?

I like that my work reflects me and that it tells the story of my life visually and reflects my interests and personality. I was diagnosed with advanced breast cancer a few years ago and the prognosis was pretty dire, and I found it was comforting to think that my work was there as a record that I had been here if that makes sense. I can look back and trace things I have seen, done and experienced through going through my sketchbooks or leafing through my work. I love that journey being there.

Tracey Fletcher King. Bottle, 2015, Ballpoint pen, 150mm x 220 mm
Tracey Fletcher King. Bottle, 2015, Ballpoint pen, 150mm x 220 mm
  • Should art be funded?

I find this one a tough one. On one hand I feel that it should be, and hate the amount of funding that goes to bloody sport. But then I worry that all the funding will go to niche areas. I would like to see the arts better funded in schools so that we can get ‘em young and expose as many young people to art as possible. That way they will hopefully grow up to be participants and interact with art later in life.

  • What role does arts funding have?

I think that the role is to allow people to create art and to disseminate the ideas of art and to be good advocates. I think in the visual arts we are very poor advocates for the value and role that art plays in all of our lives, so funding directed not just to exhibiting artists, but to training people to be better at advocating for the arts would be useful.

  • What research to you do?

I am a voracious reader of all things art related, and love reading biographies of artists, and people in the creative arts in general. I have a huge collection of art books, and also books on things like urban sketching and graphic novels as I find them endlessly inspiring. I tend to research for inspiration… though I still read the latest on areas like creativity theory thanks to my post graduate study. It is endlessly fascinating to me.

  • What is your dream project?

It isn’t something I worry about. I figure I am living my artistic dreams so all is pretty good. Having said that I am building and filming online classes I will be teaching in coming months and it is pretty cool to be able to plan and create a course not having to consider syllabi and rubbish like that. Teaching without external constraints is pretty cool.

  • Name three artists you’d like to be compared to.

Comparison is like a disease… I just don’t do it, and don’t even want to think about this one.

  • Favourite or most inspirational place

My studio. I get to surround myself with work by people I love, objects that inspire me or are meaningful to me, and I get to leaf back through sketchbooks and things. Doesn’t get much better than that I don’t think.

Tracey Fletcher King. Teaspoon Header, Dec 2014, Watercolour, acrylic paint, gouache, ephemera, and ink, 180mm x 420mm
Tracey Fletcher King. Teaspoon Header, Dec 2014, Watercolour, acrylic paint, gouache, ephemera, and ink, 180mm x 420mm
  • What’s the best piece of advice you’ve been given?

Don’t edit your ideas. If you want to draw or paint something then don’t get in and place a value judgement as to whether it will be worthy or interesting enough, just paint the bloody thing. If it is an idea then it is worth pursuing even if you end up discarding it down the track, just don’t throw it out before you have explored it.

  • Professionally, what’s your goal?

I am living it. To set up the classroom where I can run classes that I would like, and to keep working in the varied artistic fields I work in. Just keep doing it …

  • What wouldn’t you do without?

Art.

To follow Tracey’s work or to sign up for one of her classes please follow the links below.

Tracey’s website and newsletter sign up, art blogPinterestInstagram Facebook: Personal ProfileBusiness page

Little Treasures


mini-sketchbooks

I recently blogged about reclaiming the tradition of letter-writing, actual handwritten letters that are sent and received in the mail, something that I have resolved to continue during 2016. I wanted my letters to be creative, to challenge me to create something more than just writing a letter so I set out to include a hand-made ‘something’ in each letter I send.

For the latest letter that I will be mailing to my sister in the UK I am including two mini sketchbooks, small and thin enough to include in the envelope. To make these I cut watercolour paper to size, rounded the corners and bound the pages together to form cute mini-sized sketchbooks which I have since filled with little drawings. These little treasures are about the size of a standard business card. 🙂

The first booklet is about everyday things around me, random objects which gave me reason to practice drawing from life. The second booklet is a botanical one, filled with different blossoms, these were based on photographs. I ink washed the mini-sketches to give them some definition but may add colour too before mailing them with my next letter.

Daily Prompt: Resolved (Have you made a New Year’s resolution that you kept?)

Tools of our (artistic) trade


In this week’s blog post I draw attention to three artist resources that I have created on my site in the hope that some of my readers may find this useful. Resources such as these are the tools, the ‘cutlery’ of our trade.

Material Investigations

I investigated how to use foreign currency and bubble wrap in two separate posts that can be found here

Part of planning an artwork involves getting to know the materials we might consider using in that work, experimenting with methods to manipulate and alter those materials to gain different effects.

Artist Research

I’ve updated the artist research page with more work from other artists. These can be found here

Investigating how other artists approach a project, what materials they use and their intention behind an artwork serves to inform and inspire me when I contemplate a new artwork.

Galleries, Museums & Exhibitions

This is a valuable list of over 200 galleries that host the artworks of many wonderful artists. The list can be accessed from here

I’ve alphabetized the list now for easier navigation and I’ve updated it with more entries which I will continue to add to.

Here’s to your creative genius!

 

My recipes on TDAC


I am just a little bit excited that both recipes that I submitted to They Draw and Cook have been approved and now appear there on my Artist Profile. This is a great incentive for me to continue creating and submitting illustrated recipes to the largest illustrated recipe site on the www. With a bit of luck my artwork may be spotted by an art director (a common occurrence on the site) and may even result in future illustration jobs.