Drawing with Dürer

Last week we had the chance to spend a morning in the Study Room of the Prints and Drawings Department at the British Museum. Beforehand, we could chose one or two drawings we would like to see. After I learned that my first two selections were out on loan, I settled on a Dürer with drawings on the recto and verso

170209-bm-print-drawing-room-01-durer-recto-for-web 170209-bm-print-drawing-room-03-durer-verso-for-web

170209-bm-print-drawing-room-04-durer-verso-detail-for-web

 

 

and a Michelangelo similarly with drawings on both sides of the paper.

170209-bm-print-drawing-room-02-michelangelo-for-web

When we were preparing for this workshop, I realised that I had actively avoided ‘drawing from the masters’ despite its long history as a key element of art education. I think I simply lacked confidence in my own abilities. Which is, of course, a trap: if you don’t practise, your drawing won’t improve.

Anyway, we first had a discussion as a group about each person’s choices and other drawings selected by Isabel Seligman from the Department, who had organised the event. Here’s a Bridget Riley and a Lyn Chadwick.

170209-bm-print-drawing-room-06-bridget-riley-for-web

170209-bm-print-drawing-room-07-lyn-chadwick-for-web

 

 

 

 

 

 

 

 

Then we settled down to draw. In the end I only had time to focus on the Dürer. What I learned was:

  • you can’t be vague. If you want to understand how Dürer drew, your marks must follow his exactly.
  • you can’t rush. For the same reason: i.e. you need to make every mark Dürer made, however long it takes.
  • you get better quite quickly. I’m quite proud of my hand (even if it did run off the page).
  • I need to use a wider range of tones. I tend to linger around the mid-tones too much.

Here’s what I ended up with in the order that I did them.

170209-bm-print-drawing-room-09-for-web 170209-bm-print-drawing-room-10-for-web 170209-bm-print-drawing-room-11-for-web 170209-bm-print-drawing-room-12-for-web

 

 

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