In the previous post I alluded to my attempts to find new directions in which to take some, or all, of the drawings that pop out of the studio here. For a long time now there has been a persistent challenge in completing the ink drawings in particular, which has somehow not diminished or been overcome no matter the approach taken. It is that old thorny issue of context. Whether the inability to get this nailed is the result of never being formally trained in illustrative techniques, or some weird hangover from years drawing objects as a product designer I’m not sure. The more I think about it, the more I’m persuaded it’s a combination of things, some of which go right back to when we learn to draw in the first place and how we look at the world we are trying to capture.
The connection between ones minds eye and the imagination is a fascinating one and is undoubtedly different in all of us. How we imagine things, scenes, objects and the like also varies within us from moment to moment. When drawing from life one is saved from creating context because, in a way, it’s right there in front of us, and we are able to use some visual editing to eliminate that which we feel is surplus to our requirements. In imaginative drawing this is almost reversed, we must “fill in” first before editing down.
What’s this got to do with stories you might ask? Well, part of the success or failure of an imaginative image, I believe, lies in providing enough information to not only hold the eye of the viewer, but also to captivate their imagination in the hope that we allow them to extract as much as possible from the image. In a way we try to tell a story, or at least provide enough to start a story off, to allow the imagination to take us somewhere. Although a fairly simple sounding premise it has taken me some time to work this out in my own mind, which I’d much rather do than read it in some book or other. Because I’m a person who sees objects more than scenes in the minds eye, providing this context is always a struggle. Previous attempts have had mixed success. Shaded geometric shapes have helped to place the image on the page, but no more. Inserting scenes such as horizon lines inhabited with trees and buildings have helped too but run the risk of pulling the central image back towards reality and becoming repetitive. What I wanted to find was a format that would give more flexibility whilst being very much in tune with the language of the images.
The little drawing above might give you a fairly clear idea as to where this is going.