About Erin Libby

I am a painter, sculptor, illustrator, art educator and recovering commercial artist. I trained at the School of the Art Institute of Chicago, the University of Chicago, the University of California at Los Angeles, and Western Washington University, with a brief stint at Mexico City College. Mexico City College gave me my foundation technique of egg tempera. I am a working painter, currently showing at the Blue Horse Gallery in Bellingham and Gallery by the Bay in Stanwood, Washington. Look for my work in Fairhaven at Olivia Cornwall Gallery.

I've been teaching art for a very long time. I hope that you find this blog helpful.

Thursday, July 1, 2010

Working in a Series.

Marching Box Prancing Box


Two pages of boxes


I have included three pages from the same sketch book. They are scattered through the sketchbook, done on different days. I did the "MarchingBox" first, I decided the idea needed more animation and I made a rapid sketch of a box with Prancing legs.
Not finished with the box that wasn't a box, I did the Beastie one. Here, I did the first version in pen, then, on the previous page, I did a pencil of the same critter seen from the back.

Recently, I did a colored version of this concept. Apparently, I am still playing with the busy Box.

There is an obvious randomness in the nature of sketchbooks. You tend to draw what you encounter, what strikes your fancy and what you come upon. You may also use the book to make written or drawn notes to yourself that arrive in your brain of their own volition.

I want to talk about “series” thinking and “threads”. As you go along, enjoying just the process of jotting things down, you will find yourself becoming aware of something you have done that appeals to you. You may have created a certain squiggle that you like, caught the sweep of a tree branch with telling energy, or used a title that lingers in your imagination.

What charms you may have to do with the way your pencil shaded the sunlight from shadow to light.

It is out of these almost accidental stimuli that you will begin to function as an artist. If it catches your eye, if you go back to that page, if you find yourself lingering over a page of sketches, then explore what has been emerging, that is what leads to creation. Putting a name to it sometimes helps. You might say,” I love the way the center of this flower is pressing so hard to get out.” When you have been out and about: “ The faces of people when they are watching a boat race are so intense!” With your sketches you will learn to put thoughts and feelings into what you visualize.

Take the element that has caught your attention and deliberately explore further. It is fine if you do two or three studies, exhaust your new ideas and drift off to another topic. Some art has to sit and simmer.BUT, you have recorded the moment of interest in your sketchbook,( that invaluable tool,) and can resume working on what excites you at any time.

Doing a series of studies with one technique or one idea gives you the confidence to know what is your personal “take” on the subject. This is how you grow art.

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