Delayed

This is the third print in the Westonbirt series, called 'Delay'.

'Delay' Etching 70 x 35cm

The piece shows the view of the end of a path in the arboretum (the same path the previous two etchings - see previous posts). The exit is framed by two arching tree branches. The word 'delay' is a sumative expression of the comments people make when talking about being in the countryside. Rarely do you hear of people expressing the view that they couldn't wait to get back to the humdrum of daily routines, the more commonly expressed feeling is of wishing to delay the moment of leaving. The sanctury of woodland provides a place to pause, and once stopped there is reluctance to move too quickly.
This etching leads to a crooked tree in the near distance, just at the end of the path, it beckons but the crookedness advises caution. It might be better to stay safely in the shadows of the path, unnoticed.

At the end of the day our crooked lives take us forward and, well, I'm curious about that crooked tree!

Drawing the Zoeschen Maple

The Maple that I chose to draw as one of my Westonbirt Series pieces can be found just off Broad Drive in the Arboretum. I photographed the tree during February and March, in the stark light of winter mornings, when natural structures are clear of any surrounding growth:

I was equally fascinated by the web of shadows cast by the tree as I was by the interlacing spread of branches. The short trunk held a special appeal; such a strong support for this graceful maple.
Fortunately I was able to find quite a broad piece of maple to draw on, and I was able to work out a composition which hinted at the broad reach of the branches.

Once the wood was trimmed - I have a much improved sawing action these days! and sanded I was able to prepare the surface with gesso, ready to draw.

Finding the dominant branches to get the structure correct

Working out the angles of the shadows

Strengthening the tonal qualities, too heavy and solid now, but ready for sandblasting

The finished Zoeschen Maple, softer shadows reaching across the floor to the viewer
and light coming in through the upper branches.

At the final show the pieces drawn on the wood seemed to take the attention of people who appreciated all things natural but also those who had a love of wood. The fact that the natural qualities of the actual pieces of wood were still visible seemed to be as important to them as it had been to me in the drawing.

Revealed structure

I've been eagerly awaiting the fall of leaves from the trees so that I can once again see the structures and enjoy the stronger, more dynamic shadows.

A recent visit to Westonbirt Arboretum shows that the leaves have fallen and the structures have been revealed.

The interplay of shadows and tree trunks is very inspiring at this time of year, we enjoyed making the most of this clear sunny day. Now I'm itching to get going on new drawings and etchings.

Trying to let mark making have its own say

With all those delicious graphite mark making experiments of last month in mind, I have returned to a drawing of a narrow footpath reaching up out of the village from Woodstock Lane.
In the now finished piece I have tried to allow the mark making to begin to speak for itself, and not to restrain it for the sake of representational detail.

'up from Woodstock lane'
graphite/watersoluble graphite on Fabriano

The lane is fairly steep, the ground is uneven and in several places the trees meet overhead in architectural shapes reminiscent of barns or churches. The shadows they create are beautiful and provide striking contrasts.

These close ups of the drawing show areas where I felt I had let the graphite speak for itself.

When I heard Trevor Felcey speak at the Plough Arts Centre he talked about successful drawing being somewhere between the pencil and the paper, I wonder if these experiments are leading me to something of what he meant. In other words by allowing a mark that was made through the process of feeling for the drawing to be left, rather than tidied up or erased ... then a drawing begins to have its own say.