Now you see it, now you don't....

I am feeling very pleased with myself as I have finally found a way of sealing my petri dishes. The very small ones are fine as they have a tight fitting lid which just needed a spot of super glue but the larger ones have a lid which is a fair bit bigger than the base. Tried clear tape - puckered and looked awful - so did a bit of research and an order of special tape arrived today.  I'm really chuffed at how well it's worked. - very nearly invisible. Just need to check it stays put over time....

#1 fade test

digital pen, lead pencil, ballpoint pen, petri dish. 9cm diameter

Goodness Me!

Activity, Year 3, 13.09.2012

Considering I've spent a very satisfactory (and much needed) 9 hours drawing today it's amazing how much computer activity has also taken place (above). Admittedly I have taken a wander down memory lane and gone back through all my blog posts for the first time. My first entry back in 2005 started 'For a while now I've been trying to keep a sketchbook on line with limited success. Thought a sketchblog might be the answer?'  It's quite odd seeing all the ideas I have started but not finished (and still want to tackle when I get round to it) so it really does work a lot like a sketch book. It's also made me think about how ideas develop - a lot of them are mentioned over a long period in various guises.I definitely need a great deal of 'thinking time' and can toy with something for years before I actually get around to tackling it in a more focused way. An ongoing unravelling of entangled ideas and thoughts.

'fade' drawing

Alongside the 'washed' and 'erased' drawings I've also been toying with a 'faded' series. Earlier this year I spent quite a while testing pencil on assorted fine art papers. I wanted to do some combined traditional and digital drawings but needed a surface which would be suitable for both. The starting point was fine art papers as this is what I've been using for my stand alone digital drawings (archival and fade proof ink/ fine art paper = longevity) They were absolutely useless - I think because the coating resisted the pencil marks. I had printed some of the smaller 'connect' drawings on my standard printer, UV varnished areas and then positioned in the window to check light fastness - even with this years distinct lack of sunlight they faded very quickly. Light bulb moment! - print on standard paper and then draw on top, the printed parts will (hopefully) fade - an ideal starting point for the 'faded' series. I've already done a few small drawings like this but really wanted to work on a larger scale to fit in with the other large drawings. I went to a local printers with my 2B pencil to test the uncoated paper they used (worked great) and this morning picked up a test print. I used a digital drawing already in progress because I have no patience and need to try it NOW but I may give a bit more consideration to future drawings. As usual  printed 1:1 with no proof (and very weird to see a digital drawing printed before it's finished). Going to use ballpoint pen (as this also fades over time) as well as pencil (which doesn't) and then see what happens....

Drawing Paper #6 and other stuff..

Can't believe it's been so long since I last posted - time really does fly when you're not enjoying yourself! The usual reasons - day job one, day job two, blah, blah.... Today, however I have a couple of  hours in my studio to update, plan and prepare. A few things to share:

Drawing Paper #6 is on it's way to Derby! As usual I will have copies at the Crompton Tavern (46 Crompton Street, Derby DE1 1NY) and will also distribute to other venues in Derby and surrounding areas. If you want some let me know. This year it has been co-curated and funded by Tate Liverpool. Such a great publication (I was in # 2) and I'm thrilled to see it going from strength to strength. Best of all it's FREE!!

Another publication - The Fabelist online issue 3 is available here with some really interesting responses to the theme 'Connect' (music, visual art, writing etc.). The next project is about to start and the theme is 'Synaesthesia and the Senses'. Initially I wasn't sure but I've decided I'm going to concentrate of the 'senses' bit and use it as an opportunity to give further thought to the idea of Touch & Trace - in particular the idea of haptic memory and how it relates to both traditional and digital drawing. This may just end up as a series of ramblings...

ZAP Open - this new open is nearing it's deadline for submission. I am tempted by this because it is an upfront, transparent application process - follow the link for details. If I get my act together in the next couple of weeks I may well apply - still a lottery but  at least you know what you're paying for. The downside is - all my large drawings are too big. I particularly like the fact they accept optional statements which will be reviewed anonymously if needed - sometimes a bit of explanation is necessary. To put it mildly I don't subscribe to the idea that all visual art should speak for itself, I think the sentiment is often an excuse for laziness. This is not the same as saying there shouldn't be a space for the viewer to interpret work - I just happen to think that space should  be constrained. (But I'll save any expansion of that thought process for a future rant....).

I was searching for antique pencils (who needs shoe shops) when I came across the above image on this site http://www.wallwork.me.uk/floorboards.html. I want a house like that - all I have under my floor boards is electrical wiring and dust!

14 weeks later...

twist & release drawings, each: 1016 x 1372 mm

I've been posting a lot recently about my residues and remnants but I've also been working on my large drawings so above is an update - 14 weeks since my last one. Still a long way to go but moving forward.