I’m finally at the point where all three drawings have been completely blocked out in terms of both the figures and the water. It’s a relief to be at this stage, as everything leading up to this point has been focused on preparatory work. I’ve been eager to get to the point where I can relinquish my photographic references with the water; as much as I need the references to get myself started in these compositions, I also know what an enormous distraction they can be to the drawing process.
A detail of one of the drawings, in this view you can more clearly see the coarse surface created by sanding the Dura-Lar surface.
I’m been taking a fairly aggressive approach with the drawing to be sure that I see the big picture, but I think today that worked against me. I was too hasty with my blacks and the consequence was having to scrape away large areas of crayon that were making passages of the drawing appear to be murky and confusing. On this large scale, it’s hard to slow myself down in the drawing process, as I’m highly conscious of getting too involved with details and moving quickly around the composition prevents that from happening. I keep reminding myself to continually step back as well to be able to see the composition clearly as I work on it. At the same time, my fear is that the aggression is causing the drawings to lose their sensitivity and subtlety.