In March our MATS Bootcamp assignment was to create a portrait of a Suffragette and my Suffragette was Sylvia Pankhurst. I’d never heard of her before but she was one of Emmeline Pankhurst’s daughters.
Sylvia was born in Manchester but spent a lot of time working in east London, championing the working class, who she saw as instrumental in bringing about real change in terms of voting rights. This was one of the things created tension between her and her mother, and her older sister Christabel. Eventually Sylvia became estranged from her family after having a child outside of marriage.
In the 1950s she moved to Ethiopia after becoming friends with Haile Selassie, and she is buried in Addis Ababa.
This week I haven’t had an illustration assignment to do so I’ve been taking some time to just draw. I haven’t used an actual sketchbook regularly in a long time and I realised that I was missing it. Most of the work I’ve done lately has been on loose sheets of paper, which has made it easier to scan. I went through the stack of sketchbooks that I’ve not yet filled and each one was for a different but very specific purpose.
So today I started a new everyday sketchbook. It’s a type that I haven’t used before – a Seawhite of Brighton watercolour travel journal. My plan is simply to fill a page every day – or most days at least – with whatever I feel like drawing or painting.
We’ve had a hint that our next MATS Bootcamp assignment will have something to do with ‘faces’. For some reason I tend to avoid drawing faces because they feel so difficult but I think it was Tommy Kane who I once heard say that it’s not about being able to draw a particular type of thing, because it’s all drawing – observing something and translating that through your pen or pencil to the page.
So as uncomfortable as it might feel, I’ve started practising drawing faces this week. The first I did on loose paper and the second one is on the first page of my new sketchbook. My ultimate goal would be to loosen up and draw faces in a more minimal or stylised way, but for the moment I’m enjoying learning by creating portraits with a bit more detail to them.
For reference I’m using my own photos – either old family photos or pictures I’ve taken myself. Is there a subject you tend to avoid in your creative work because you’ve told yourself that it’s too difficult? What might happen if you started practising that type of work more regularly?
Every week I share a few links to things I’ve enjoyed reading, looking at or listening to online. Here’s my selection for this week: more “Creative Links 52: Solitude vs Loneliness, Finding Consolation in Art and a Watercolour Watch”
Every week I share a few links to things I’ve recently enjoyed online – videos, podcasts, blog posts and so on. Here’s my first more “Creative Links 51: A Cat in a Car, Avoiding Comparison and How Drawing Can Open Doors.”
I’ve been drawing nothing but people (one each day) for almost 2 months now. I decided to carry on with that ‘self assignment’ (to use Fabio Consolli‘s words) after Drawing August ended and until my current sketchbook was filled.
Coincidentally, it seems that my more “Itching to Start Something New”