Fat boy with ice-cream; doodling processes

*

 

 

 

Fat boy with ice-cream, pen on paper, 10 x 6 cm 

 

The fat boy, absorbed in his ice cream, or occasionally a hamburger, is a sort of Billy Bunter figure. He has appeared in my work over and over, including in some monotypes which I shall try to unearth and photograph this year.

The pleasure of doodles is related to them not mattering. They differ from grafitti, which is necessarily a public declaration. Doodling is very psychologically intimate, a way of talking to oneself.

  I've found taking a doodle and trying to "improve it", either by working into it more, or by trying to make more finished drawing from an idea in a doodle is is rarely successful. You end up wih something that lacks the quality of unconscious confession, becoming stiff.

*

Sincere young man

* 

 

 

 

Sincere young man, pen on paper, 5 x 7 cm

 

 

 The sincere young man is a repeat character in my doodles, which are made usually in lessons- a big advantage of teaching online. 

The character is somewhat of Balthus, or Cocteau- the culture of the 1930s: intense, quite sincere, a little camp.

 

 

*

Rua Rid Silva, Canasvieiras

*

 

Rua Rid Silva, Canasvieiras, 14.5 x 21.3 cm

 

 

 

 

 

*

Paint box / tray easel

*

 

 

Paint box / tray easel with cord, closed

 

 

 

 

 

The space here for paint, wiping tissues, brushes, and mixing colours is very limited. The cord cuts a little. 

 

 

 

 

 The advantage of this box is that, supposedly it makes it easier to walk around and paint. It isn't necessary to set up an easel. And one can work in smaller spaces.

 

 But there are various inconveniences too, because there is so little space for mixing and  resting brushes. It is not very comfortable to use.  With a belt the box's weight would be taken by the user's waist.

*

 

 

 

A white building

 *

 

 

Canasvieiras, a white building, oil on card, 17 x 19 cm - unavailable

It is difficult for the camera to captute the strong pinks and greens at the same time.

I'm painting without linseed oil. It's less fluent. Also  less economical. I'll try to use some oil next time, though I fear it will make a mess.

 I'm painting with the materials a try which is hung round my neck. It is limiting. It makes it harder to use a range of colours on a palette. But maybe with these limits comes  a deeper exploration of the possibilities withing these limits.

There is a problem with passers-by watching or talking. It makes it much harder to work.

*

Trunk

* 

 

 

Trunk

 

 

*

 

Logs, branches

*

Logs, branches

 

*