Two details from a drawing currently on the go. I think it is nearly finished, and it is going to be titled Falling from Trees. It measures 88 x 62cm and as usual is ink on paper.
I have a repair to do where I stupidly stuck it to the wall with masking tape. I usually make tabs in the corners for taping or pinning to the wall which get removed when a drawing is finished, but I didn't in the early part of this one's development. Now I remember why I always must do that thing.
On the subject of materials. I always use Japanese tissue for this type and size of drawing. It is extremely strong for one thing, and tolerates a lot of manhandling (though not being masking-taped to the wall!) When you have a piece of work on the go for as long as I do, you will know just how much handling it gets in the course of its development. My line requires the utmost control, so I work very closely to the paper. And never after too much coffee!
The paper is hand-made, and while I don't want to be precious or exotic about this, from an aesthetic point of view it has a very beautiful, irregular surface with a semi-opacity which allows light to travel around the drawing from all directions. It's got great wabi-sabi! The light reflects off what's behind the drawing and sets off the delicacy of the line which is made with a very fine-nib mapping pen and a .10 rotring technical pen.
When I use text in a work, incidentally, it is my own writing from my journal. The texts are stand-alone pieces of prose, usually just a couple of paragraphs of which come about as a result of a thought which triggers an imaginary event in my mind. It's a kind of 'what if …? situation. They are not written specifically for use in any one drawing, I am not thinking about drawing at all when I am writing; nor are the drawings about the words. I don't think in words when I draw. They are conceived quite separately. Often it will happen that I have been making a drawing for weeks, then suddenly remember something I wrote a while ago and realise there is some kind of relationship there. Perhaps it's a naturally symbiotic thing, as it all starts in the same place in my head, but suddenly it's obvious that a piece of writing about a sunset should be incorporated into a drawing of fungi or beasties.
One thing I am aware of is that I write a lot about colour, but draw in black and white - and I do enjoy the contradiction!
Welcome to my blog, where I share what I have been doing during the week.
I have at last copied my nom-de-plume Binky McKee blog entries from here to their own blog, having given the illustration website an overhaul. Peace and tranquillity may resume here in the somewhat quieter nature of Heather Eliza's work, while Binky has her own rather more colourful Weekly. Please visit Binky McKee if you would like to visit!
Heather Eliza Walker
Artist in Edinburgh, Scotland
My Illustration Work:
Binky McKee Website