North of the Boulevard

North of the Boulevard, 2012
Graphite on paper
6 5/8 x 5 1/2 inches

© 2012 Susan M. Lohse.  All rights reserved.

This drawing represents a step in the direction I’d like to take my graphite work.  I took a lighter hand with the graphite, and left white space to allow context, rather than rendered detail, to tell the story.

End of Day

End of Day, 2012

Graphite on paper

4.75 x 6 inches

© 2012 Susan M. Lohse.  All rights reserved.

For several reasons, I haven’t been satisfied with what I’ve been producing lately.  To shake things loose creatively, I decided that I needed to relax, get back to basics with pencil and paper, and see where it took me.

If you’re an artist, you know exactly what I’m talking about.

Daffodil Challenge

Daffodil Challenge, 2012

Graphite on paper

8 x 5 inches

© 2012 Susan M. Lohse.  All rights reserved.

In honor of the early-blooming daffodils in the Blue Ridge Mountains, Ann Thompson Nemcosky issued a daffodil challenge this month.  This is the first time I’ve seen a challenge issued by an artist whose blog I follow, so I decided to participate.

The online art community is so supportive and inspirational.  I can’t wait to see the daffodil interpretations of the other artists who participate in Ann’s challenge.

UPDATE:  Ann has posted all of the daffodil artwork submitted for the challenge.  It’s interesting to see the different media used and each of the interpretations.  Congratulations and well done to everyone who participated.

Brush

Brush, 2011

Graphite on paper

6 x 4 inches

© 2011 Susan M. Lohse.  All rights reserved.

A humble little scene on the edge of civilization that caught my eye.

Fall Reflection

Fall Reflection, 2011

Graphite on paper

6 x 4 inches

© 2011 Susan M. Lohse.  All rights reserved.

This view’s complexity, unusual backlighting and evocation of Monet’s Poplars compelled me to figure out how to render it.

Goldilocks

Goldilocks, 2011

Graphite on paper

6 x 4 1/2 inches

© 2011 Susan M. Lohse.  All rights reserved.

Several years ago, a robin built a nest outside my window, and I had the privilege of observing two sets of chicks being raised.  The following year, I noticed a chipmunk (no doubt one of those who kept stealing my lily bulbs) taking a nap in the abandoned nest.  Of course, I ran for my camera and woke him up as he unwillingly acted as my model.  After getting my shots, I left the little lily thief to continue his nap.

Apparently, both my poor lilies and the robin’s nest were “just right."

Stella d'Oro

Stella d’Oro, 2011

Graphite on paper

7 x 5 1/4 inches

© 2011 Susan M. Lohse.  All rights reserved.

I drew this piece using an adaptation of Mike Sibley’s negative drawing method.  The technique is effective for pushing darks to achieve strong value contrasts, and encourages one to rely on tone rather than line to render shapes.

The next time I attempt something like this, I’ll use paper with a smoother surface, perhaps bristol smooth or hot-pressed watercolor paper.  These papers are often favored by graphite artists, particularly those with a photorealistic style.

Reynolds Family Winery, Napa, California

Reynolds Family Winery, Napa, California, 2011

Graphite on paper

12 x 8 inches

From a photograph by Elizabeth Weinberg

Private collection

© 2011 Susan M. Lohse.  All rights reserved.

Drawing this complex scene stretched my skills and made me a better draftsman.

Morning Sunlight

Morning Sunlight, 2011

Graphite on paper

4 7/8 x 6 inches

© 2011 Susan M. Lohse.  All rights reserved.

For me, making art involves constant inner debate—whether to make something traditional or unconventional, something within or outside my comfort zone, something that is more likely to be admired by the majority or something that simply satisfies me.

As hard as it can be to break the mold, I find I’m more satisfied if I push my boundaries and try new things, be they media, techniques, styles, compositions, etc.  Some results are more successful than others, but the personal growth is invaluable.

Dianthus

Dianthus, 2011

Graphite on paper

6 x 4 5/8 inches

© 2011 Susan M. Lohse.  All rights reserved.

My drawings begin with studying my reference.  However, as the piece progresses, my reference almost becomes secondary as I gradually transition to being more concerned about how the artwork reads.  I make adjustments that might not be there in reality, although the reference remains the basis for how to achieve what I want to convey.

A good resource about this and other creative concepts is Passport & Palette, a PBS series that features plein air painting.  It’s more a wide-ranging discourse on the creative process than it is the usual how-to, although it includes some of that, as well.  If you haven’t seen the series, I recommend checking it out.

At the Edge of the Pond

At the Edge of the Pond, 2010

Graphite on paper

5 3/4 x 4 1/2 inches

© 2011 Susan M. Lohse.  All rights reserved.

I think that we sometimes see the subject matter of certain well-known artists and conclude that the subject matter that speaks to us can’t possibly measure up.  But we choose subject matter the same way they did:  It’s what we see around us, what has meaning to us, or what concepts we want to convey.  It’s the objects, the people, the colors, the lines, or the play of light against dark that we perceive as beautiful or interesting.  Subject matter doesn’t have to be monumental to be a poem worthy of interpretation.

Creek II

Creek II, 2010

Graphite on paper

5 13/16 x 4 9/16 inches

© 2010 Susan M. Lohse.  All rights reserved.

I was compelled to draw this view because I recognized its similarity to a distinctive composition sometimes used by Van Gogh in the photo I took:  sharply diagonal lines terminated by a high horizon line.

When I was nearly finished with the piece, I took another look at Van Gogh’s work to write this blog entry.  The view depicted here is no Arles, and I’m certainly no Van Gogh, but I was surprised to discover that I’d unintentionally taken a photo of and drawn the same general composition that Van Gogh used in Flowering Garden with Path (July, 1888).

Stand

Stand, 2010

Graphite on paper

5 3/4 x 4 5/8 inches

© 2010 Susan M. Lohse.  All rights reserved.

A drawing of a stand of oak trees that captures my attention every time I walk by it.

Respite

Respite, 2010

Graphite on paper

5 11/16 x 4 9/16 inches

Private collection

© 2010 Susan M. Lohse.  All rights reserved.

There’s a lovely little jewel of a park in the midst of a sprawling suburban neighborhood.  The landscape architect designed the park around mature oak trees on a hill that were there before the subdivision was built.

Creek I

Creek I, 2010

Graphite on paper

4 3/4 x 6 inches

© 2010 Susan M. Lohse.  All rights reserved.

This wild view needed an impressionistic treatment.

Chrysanthemums

Chrysanthemums, 2010

Graphite on paper

6 x 4 3/4 inches

© 2010 Susan M. Lohse.  All rights reserved.

Employing a device used by certain oil artists I’ve studied, I just suggested the leaves here.  It grounded the flowers, yet allowed them to remain the focal point of the piece.

Balloon Flower

Balloon Flower, 2010

Graphite on paper

4 1/2 x 5 3/4 inches

© 2010 Susan M. Lohse.  All rights reserved.

I’ve rediscovered my blending stump.  I really like the effects I’m getting with it.

Two Alliums

Two Alliums, 2010

Graphite on paper

4 3/4 x 6 inches

© 2010 Susan M. Lohse.  All rights reserved.

This was an exercise in using different techniques than I normally use to depict a very detailed subject more impressionistically.

First, I toned the paper to a mid-value with a graphite stick and blending stump, then carved out the main shapes with a kneaded eraser.  From there I mostly used 6B and ebony pencils to render darker values and the kneaded eraser to pick out highlights.  The stump was again used here and there to soften certain areas and value transitions.

Exploring what are, for me, atypical techniques allows me to execute a look and feel that is completely different from my usual work.

Wetland Landscape

Wetland Landscape, 2010
Graphite on paper
6 5/8 x 5 1/2 inches

© 2010 Susan M. Lohse. All rights reserved.

Portraying the tangle of grasses and reeds in the middle-ground wetland was a challenge, but employing the patience to do this kind of detail can be worth the final effect. The trick is knowing when to stop.