I'd reached a point where I couldn't do any more work from photo reference in the studio. I needed to get back on site and in the square to check on details, and get my actual reference.
When set up my easel that morning, it felt so much easier, and also as if I had stepped inside my drawing. Hmm, a definite sign of having spent either too much time in the studio, or more than enough time on a piece of work.
As it happened I was able to check on this or that, i.e. how many paving stones and kerb stones were located in the pavements as Bridge Street approached and joined the High Street. Ok - I'm not going to put everything in, but it's going to be pretty close, and hopefully accurate also...
Artistic license not withstanding.
One of the benefits of working al fresco - apart from the tan - is the social aspect. I find that a lot of people are curious about what someone may or may not be drawing at an easel. And let's be clear, if you're out there drawing or painting you're fair game for anyone who wants to come along and have a chat.
Most people are kind are personable and often very complimentary, which is a tremendous lift when you are normally working in a solitary environment. Though I must confess that I have had the added benefit of showing this work regularly to my Hilgay Art Group members who have been forthright with their comments, all of them positive I'm pleased to say.
Hello to Kevin from Ten Mile Bank who upon seeing the drawing said he particularly liked line drawing - I smiled and directed him to my website - we were clearly kindred spirits.
A big thank you also, to Dave Soakell who came over with his family to look at my work, spotting his camera I asked if he would take a few pictures of 'man at work' just for the record. He graciously complied and emailed me the images that afternoon - got my haircut just in time.
Thanks Dave - hope you like the finished article.
I marked on the board in pencil any additions or amendments I wanted to make, and also for good measure took a few more photographs of any thing I was likely to forget. I firmed up the pencils that afternoon in the studio, and inked over them the following morning.
It wasn't until my final visit to the square that I was able to add the definitely last details and fine tune the artwork, plus more final photos.
This is nothing if not an organic process.
When I'd completed it, I still went back half an hour later (not at midnight), and made a couple of adjustments. And quarter of an hour later still, I beefed up a few lines on the bunting before calling it a the end of a long long day - figuratively speaking.
If you've enjoyed this post - and the artwork - please leave a comment or email me - Cheers.
'That's all folks!'