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Monday, 16 July 2012

After Fuseli

Bill Boethius 16 July 2012 · After Fuseli [Graphite pencils on watercolour paper]. Freehand copy of Fuseli's self portrait. At first I was drawn in by Fuseli's use of light and shade, but as I explored mre I saw that his use of line here is just as important.

Friday, 13 July 2012

After Gerald Brom.

Bill Boethius 13 July 2012 · After Gerald Brom. [Hard graphite pencils - 9H to F - on smooth paper]. Freehand drawing from Brom's 'Bluff' painting (can be seen in his collection 'Darkwerks'). Here I was inspired by reading about silverpoint techniques, and how using the hardest pencils on a smooth surface could approximate that. They create a kind of bas relief effect. The technique takes a long time, building up almost invisible marks from the start until their preponderance creates that sensuous surface.

Thursday, 12 July 2012

The Piper

Bill Boethius 3 July 2012 · The Piper. After a figure in Durer's woodcut 'The Men's Bath House', 1498. [Graphite pencil, some added colour pencil, on watercolour paper]

Collaborator

Bill Boethius 12 July 2012 · Collaborator
Sketch:

After Poussin

Bill Boethius 12 July 2012 · After Poussin [Graphite pencil on watercolour paper]. After Poussin's self portrait. What drew me to make this freehand copy was the complete contrast between the man and his work. Seeing his work long before seeing him, I imagined Poussin to be a somewhat refined, delicate, bookish man. I couldn't have been more wrong, as he was clearly a magnificently macho beast, with a Brandoesque scowl.

Monday, 9 July 2012

Saturday, 7 July 2012

Thursday, 5 July 2012

The Genius of Melancholy

Bill Boethius 5 July 2012 · The Genius of Melancholy [Graphite pencil, coloured pencils] After Durer's Melencolia I, engraving 1514

Tuesday, 3 July 2012

Sunday, 1 July 2012

Drink of Me.

Bill Boethius 1 July 2012 · Drink of Me. After Durer's woodcut of the Last Supper, 1510.[Pencil on watercolour paper]