Sketch of a horse

"Untitled"
Sharpie pen
5.5x8.5

Study of a study: Leonardo da Vinci

"Study of a rearing horse: Leonardo da Vinci"
Sharpie pen
5.5x8.5

A couple of my teachers throughout the years have recommended replicating art that you admire as a method of improvement in technique.  I pulled up some images of sketches by Leonardo da Vinci, and chose this one as my reference.  

I used a Sharpie pen, whereas da Vinci used red chalk in his drawing.  The feel is a lot different as a result.  His lines and shading have a much more organic feel to them, which makes sense given that many of his studies were in preparation for sculpture.  My lines are sharp and crisp, and I had to rely on crosshatching for a similar result to da Vinci's shading.  

It is interesting to see where he experimented with different anatomical placements of the horse's head and legs.  These conscious choices can make a huge difference in the impact of a piece; I am striving to be more aware of my choices when creating art.  While I was working on this piece, I felt the most focused and inspired that I have in quite some time.  I suppose that studying the great artists will do that.

Freehand Andalusian

"Andalusian"
Sharpie pen
5.5x8.5

I was standing outside yesterday, admiring the balmy October afternoon, when a little niggling thought popped up.  "You haven't drawn anything in over a week now.  You really ought to update your blog."  An image of a proud Spanish horse, mane flowing and neck arched, came to my mind.  I like to draw the Iberian horses the best- the Lipizzaners, Friesians, and Andalusians.  There is such grace, strength, and beauty in their conformation.  They are the Adonis of horses.

This was a freehand, no reference drawing.  There are some liberties taken with the horse's conformation, and as usual when I draw without reference, his eyes are too high up on his head.  It's not as noticeable as usual, so there has been some improvement.  The foreshortening of the right foreleg is a little awkward but gets the job done without detracting from the overall image.  I could spend more time on the shadowing and crosshatching.  There is a heavy reliance on line in the drawing, especially on contour lines.  While there is nothing "wrong" about that, some classic instructors and critics might turn their nose up.  I'm no da Vinci, but even he used a lot of contour lines.  I think I may try replicating some of his sketches to improve my own art.

An Old Friend

"An Old Friend"
Sharpie pen
5.5x8.5

I came across this picture whilst browsing Pinterest, and I found myself deeply stirred.  The photo of the old dog reminded me of Star, my childhood black Labrador retriever.  I still miss her very much.  It's been said that everyone (who likes dogs, anyway) has a life dog- one special dog that none of the others in their life can compare to.  Sort of like a doggy soulmate, as it were.  I believe Star was my life dog, and sometimes the grief at her passing is as fresh as the day it happened.

It's rare that a photo or other types of artwork elicits such a response in me.  I decided to do a sketch and see what happened.  It has been awhile since I last drew from a reference photo; a lot of my recent scribbling has simply been from my thoughts.  I really enjoy using the Sharpie pen.  It's easy to elicit a sense of detail and illustration without laboring over depths of graphite.  I'm also fond of crisp, bold lines.  Growing up with Disney and lots of cartoon and anime artwork will do that.  My proportions are a bit off, and I didn't frame the dog to scale, but I'm still pleased that I had the discipline to draw it anyway. I could be good at this if I put the time into it!

Artwork, is, well, work.

"Untitled Spirit"
5.5x8.5
Sharpie pen

I like to think that I am more self-disciplined than the average person.  However, I still find that I could improve in this area.  For instance, I have not kept my promise of drawing something at least once every weekday.  This is clearly detrimental to my goals of becoming a professional artist, yet I have chosen not to take this helpful step.  Why?  

Part of it is fear, fear that I'm not good enough, that I'll never be good enough, and I will always work for the man.  (By not practicing my art, I very nearly ensure that this will be the case).  The latter isn't particularly bothersome, but I feel I cannot live up to my artistic potential, my creative potential, by doing so.  I have always been bound by my desire for security, and the idea of lacking a steady paycheck with benefits wrapped into it is troubling.  Still, I dream of spending my days creating and marketing my art.  It would be amazing to work with my hands and mind in synchronization.

Discipline is doing something towards a goal, anyway, no matter what.  It's recognizing the consequences of action and inaction, and working towards improvement when it would be easier not to.  The idea of art is wonderful.  For me, the creative process is exhausting.  I made two sketches yesterday, one of which is posted here.  I got to the point where, instead of refining the second drawing, I got tired.  I felt my muse run dry, the flow ebbing away to dry sand and sawdust in my mind.  This is where discipline must step in and push creativity onward, and this is where I failed.  I was done, and simply didn't want to go on any further.  I have plenty of self-discipline when it comes to cooking, cleaning, housework, staying fit, and getting myself to my day job.  When it comes to my art, it is a notable area where improvement is possible.  I've already identified that some of the housework could and should be allowed to slide to make more room for creative time.  Now it is a matter of action. 

Spirit Horse in Charcoal

"Spirit Horse"
charcoal
11x14

For the first time in a while, I drew something bigger than my tiny little sketchbook that fits in my bag and comes along to work with me. I was inspired to revisit one of my favorite sketches so far and try it out in a larger size. Using charcoal has a much different effect than mechanical pencil or pen. Here it lends a softer, more whimsical feel to the piece than did my previously uploaded mechanical pencil edition. I wasn't originally going to shade the drawing, but I took a phone call during the creative process and absently began cross-hatching the right hind leg. This isn't what a fine artist would call a "finished" drawing, but I was happy with myself that I went outside of my normal zone. Progress should be celebrated, even as a critical eye notes what could be done better.

Pony Scribble

"Pony Scribble"
pen sketch

In order to encourage myself to draw something today, I simply took a pen and began scribbling in my sketchbook.  As happens so often, the scribbles began to take on an equine form, and a quick drawing was built from there.  I gave myself permission to be messy, to not have perfect proportions, and allow my creativity to come to the fore.  All too often, my creativity is swallowed by other demands on my mental energy, and when I do sit down to create, I am hindered by fear of not being good enough.  I am learning how to push through that reluctance and anxiety about beginning, and accepting the changes and flaws that occur both in art and in life.  Trying is better than not taking any risks, and if I can encourage myself to draw outside of my comfort zone, wonderful things might happen- such as this little drawing!

Saguaro Spirit

"Saguaro Spirit"
pencil sketch

 I'm back!  I have done a few sketches in my (online) absence, and these are the most recent ones.  Today begins the renewal of my goal of drawing every day.  "Saguaro Spirit" is a free-hand, no reference sketch.  I was thinking of my horse, Lola, and how she often peers out of her stall down towards the pasture and the pond at the bottom.  My spirit horses seem to be the most unique and fun expression of my style, so I will probably be spending a lot more time on them.  I will eventually translate this from quick sketches to large paintings.  This style and subject would have great presence in a larger format.

"Thinking of Dali's Elephants"
pen sketch

I'd like to say that the disproportionate conformation of this horse was intentional, but it was purely accident.  My brain was probably shocked that I was asking it to draw again.  As you can see, head, neck, and body are all proportionate to one another- but something disconnected when it came to drawing the legs.  They became elongated and large, a grown horse with foal's legs.  However, it is not an unpleasant effect, and perhaps even benefits the drawing with artistic license.  I may try to replicate the style on purpose in the near future.

Ghost horse

"Wraith"
charcoal
9x13

This was a free-hand drawing that had been kicking around in my mind for a while, and I finally had the opportunity to sit in my home office and bring the thought to life.  The critic in me says that this is certainly not a finished drawing, but the artist in me asks if it has to be a finished drawing for it to be good.  It is interesting, though, that my style of drawing and my preferred subject matter is not always the sort of art I would like hanging in my home.  I suppose that our innermost thoughts are not often meant to be displayed.

"Gray Lusitano" graphite sketch

"Gray Lusitano"
graphite
small leather sketchbook

I've been on a Lusitano kick lately; these especially beautiful horses are similar to the Andalusian horse and possess large quantities of fire, grace, and spirit.  Their movement is high-stepping and smooth.  This is a movie-star breed.

I had a little bit of difficulty with foreshortening in the left hindquarter as he steps forward, and the right foreleg is just a little too long.  However, I did well in capturing the feeling of motion, the horse's proudly arched neck, and the degree of collection that he possesses.  

"Dun Lusitano" graphite sketch

"Dun Lusitano"
graphite
small leather sketchbook

I decide to return to a more realistic style after feeling inspired by talking horses with a friend of mine.  There's a dun mare who graduated from the Rutgers Young Horse research program available for lease in my area, and I am deeply tempted to meet her.  She looks like a gorgeous, friendly animal, and was the reason for my Google search "dun horse."

This horse's confirmation looks good and well-formed, except for the fact that his head is too big.  I actually began with the head, when it is usually better to have a rough drawing of the whole horse first.  The latter methodology can help you catch any disproportions and other mistakes.  I also began too low down on my page, and as I wanted to draw all of the horse or as much as possible, some subconscious shrinkage occurred from the shoulder back.  It's most noticeable in the hindquarters.  I did not have a blending stick, so I used a finger to lightly shade the horse and went over darker areas again with my pencil.  The drawing does not have a finished feel to it but retains its sketch characteristics.  I would like to heighten the contrast and tighten up some of the pencil strokes.  I have noticed that my pencil sketches of horses do have a similar style, although I haven't quite figured out how to describe it yet.

Chincoteague Pony- Pop Art style

"Pop Art Pony"
gel pen
small leather sketchbook

I originally went into this drawing with the idea that I'd create another one of my "swirly horses" as one of my friends has dubbed them.  However, my rendering of this horse's anatomy went awry in the area of its loins and hindquarters.  As I was drawing in pen (oh, how I love to live life dangerously!), the mishap was glaringly evident.  How was I going to solve this?  Enter clever cross-hatching.  The result is certainly not photorealistic, but visually appealing.  In fact, I can even say it's inspired by Roy Lichenstein and the pop art movement itself.  This is not entirely a conscious inspiration, but a few years of art school might have had some influence on my subconscious.

Because I grew up loving horses, they are a clear influence on who I am today.  Horses are a frequent theme in my work.  When I was 9 or 10, I was given Marguerite Henry's Misty of Chincoteague to read.  I became obsessed with the series and fell in love with Henry as an author.  Many of her titles still sit on my bookshelf.  As I've discussed in an earlier post, illustrator Wesley Dennis was also an important influence on my art and my passion for drawing.  While I appreciate the style and challenge to conventional art that pop art presents, I still love a painting or drawing that tells a story.  I only hope to capture the liveliness of spirit that Dennis' work does.

Red-winged Blackbird

"Red-winged Blackbird"
gel pen and red Sharpie
small leather sketchbook

I heard the "konk-a-ree!" of a red-winged blackbird as I walked my dog in the morning.  It was thirty-six degrees Fahrenheit, warm enough for me to wear a hoodie instead of my winter jacket.  The sun actually felt warm on my face.  Starlings, cardinals, finches and sparrows sang and called.  When I heard the redwing, I was transported back to one of my childhood homes, which had a small wetland ecosystem in the back yard.  Each spring, hundreds of red-winged blackbirds would nest in the cattails and puff out their feathers as they called.  I loved to look for the stately males on the tops of the reeds, trees, and telephone poles.  Wings and tail are fanned, beak opened wide, as they claim their territory.  They are one of my favorite harbingers of spring.  Shortly after I heard the blackbird, I saw yellow crocuses about to bloom on a sun-drenched southern slope.  Warmer weather and the growing season are indeed almost here.

My drawing's proportions are a little off; the body of the bird should be a little more slender and his beak shorter and thinner.  I was very pleased with the hatching effect of my pen, but the shoulder patches were too white and flat in comparison.  There happened to be a red Sharpie marker on my desk, so I took a risk and used that to shade in the bird's namesake.  I'm pleased with the overall result.

Bay Arabian- 30 minute pen sketch

"Bay Arabian"
gel pen
small leather sketchbook

I'm trying to pull myself out of this winter funk and begin publishing a new blog post 3x a week.  Today I came across a stock photo of this exuberant Arabian.  Despite my sleepiness (c'mon, it's in the lower fifties and sunny!  So much better than the negative temperatures we suffered in February!), I managed to dredge up enough motivation to do a quick sketch.  I worked with quick, gestural strokes of the pen.  There is a certain beauty to sketching that I haven't quite managed to translate to more formal work.  This particular piece showcases that beauty in its expressiveness and use of suggestion.  The viewer is allowed to speculate more about the horse instead of being given a  representation which leaves little to the imagination.  Perhaps the loose lines and wild energy appeal to me so much because it represents the churning thoughts of my subconscious, which are often masked by my practical and precise outer personality.

Floral studies- pansy and crocus

"Crocuses"
gel pen
small leather sketchbook

Dreaming of spring, I thought of the flowers that I would like to put in my garden.  Crocuses shall have to wait for planting until the fall, but I'm looking forward to adding some bright, early splashes of color with pansies.  I've done a pansy study before from the flowers in my mother's garden, and doing this drawing took me back to that moment in April sunshine.  When it's cold, smells are dampened, but when the first warm spring winds come, the air is alive with rich soil and heady chlorophyll.  My favorite spring scents are lilacs and hyacinth.  Although snow is falling (again), the first green shoots will soon push through the thawing earth.

There was no preliminary sketch in pencil for either of these drawings; I simply took my pen, began with the basic shapes of the flowers, and added detail.  I have a tendency to vertically elongate my subjects, especially as seen in the pansies below.  A lot of (out)lines were used, giving these more of a design quality than realism per se.

"Pansies"
gel pen
small leather sketchbook

"Spirit Paint" gel pen sketch

"Spirit Paint"
gel pen
small leather sketchbook

My last gel pen died, so when I found another one on my dresser, I was perhaps absurdly delighted.  I love the clean, crisp look of ink, and my recent stylized horses lend themselves well to the medium.  Today, I was the happiest while drawing that I have been in a few weeks.  I even feel up to the commitment of drawing as frequently as the pros suggest.  Maybe it's the simple, classic black and white that helps my brain focus and engenders a sense of excitement and passion.

I'm also trying a new style of signing my name; while I do like signing my full name, I've enjoyed other artists' very simple yet elegant signatures enough to try it myself.  RCF.  Rebecca creates forever.

Galloping Spirit and Remembered Passion

"Galloping Spirit"
graphite
small leather sketchbook

I read today that passions are remembered, and not found.  Looking back at my childhood, all I wanted was to be with horses.  I loved everything about them- their graceful conformation, the way they moved, their beauty and grace, their scent, and the deep connection and understanding that is possible between horse and human.  I ached for and thrived on that connection of trust, understanding, and respect.  The challenge and thrill of riding was just a bonus.

It's been over a year since the last time I have sat on a horse, the longest hiatus from riding that I have ever taken.  Something inside grows quieter every day as I give myself over to my post-graduate life.  40 hours working, 10 hours commuting, every week.  Financial obligations silence any protest I might have at this lifestyle (student loans, I'm looking at you).  I do have a wonderful life, a wonderful home, a wonderful partner.  I'll be frank: as an art major, I am amazed that I have a job which pays all my bills.  I never expected even this much.

Drawing is not something that I love.  It's a different type of relationship, a painstaking journey that I hope to love one day when I can forgive myself for not being perfect or especially talented.  It's self-exploration on paper.  I only like to draw things that I like or am interested by, not necessarily to draw for drawing's sake.

I resigned myself to the fact that it was highly unlikely I would ever have a full-time job working with horses that could also support my other wants and needs, certainly not when starting with a negative net value.  Horses require a great sacrifice of time and money.  I once was given the advice to leave my boyfriend and give up my home so that I could fully commit to gaining the experience required by the field.  I chose not to violate my comfort zone in such a manner.  I don't think it was a mistake, but now I have to be more creative in figuring out how to work horses into my life.  My desire to have my cake and eat it too will require courage to accomplish.

Triceratops Sketch

"Trike"
graphite sketch
small leather sketchbook

One day, I will have a scanner, and my readers won't be subjected to less than ideal cell phone photos.  A couple of days ago, I was thinking about dinosaurs, and about drawing a dinosaur.  When I was a little kid, I wanted to be a paleontologist.  My brothers and I watched Jurassic Park, Land Before Time, and this worn out VHS documentary about dinosaurs on repeat.  We had all sorts of toy dinosaurs; a blue stuffed triceratops has survived with us all these years.  It makes sense, given my love of nature and animals.  Dinosaurs are an extinct branch of what could have been, and also appeal to my fascination with fantasy.  It wouldn't be too far fetched to say dragons existed, but we just haven't found them in the fossil record yet.  So when my brain said, "We shall draw a triceratops," I gladly reminisced on all the excitement I felt as a child when confronted with these amazingly diverse animals.  As an adult, well, they're still pretty cool.  I can't really say the same about Fisher Price.

Wednesday Sketch

Untitled graphite sketch
small leather sketchbook

Leaping the Moon- graphite sketch

"Leaping the Moon"
graphite
small leather sketchbook

Today I was looking at videos of some eventing horses.  Cross country jumping is always impressive to look at, and the bold spirit of these horses in soaring over solid obstacles served as my inspiration.  Proudly arched necks, neatly tucked forelegs, grace and athletic power- all this I hope to capture.

It's been freeing moving away from realism, yet having a grasp of equine anatomy lends authenticity to these drawings.  On a deeper level, they are symbolic of the lines of power and life in our own bodies.  They express my journey towards finding balance in life and connection with my inner spirit.

I'm mentally turning over how to execute one of these style figures into a color painting.  Should each line be a different color?  Should I fill in the in between spaces?  One color family?  Complementary colors?  Acrylic?  Gouache?  Oil pastels?  I imagine that I'll try everything at least once to see what looks best and what works on a practical level.