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30 Days of Drawing #29: Laura-ann Mc Donnell offers a writer’s response to drawing

Drawing is the artists most direct and spontaneous expression, a species of writing: it reveals, better than does painting, his true personality

(Edgar Degas)

Edgar Degas, Hinter den Kulissen, c. 1885

Edgar Degas, Hinter den Kulissen, c. 1885 (Kreidelithografie)

Possessing wonderful drawing skills is not a common trait of the average writer, well not this writer at any rate. However it is a pastime that I like to indulge in from time to time. Drawing is a starting point, the bones if you will, of the artist’s vision. Much like the writer’s first draft it can be something that’s hurriedly put down on paper, catching an image or a fleeting idea. Yet it can also be a piece of art languished over and constructed slowly during long periods of time. For me drawing is a release, a way to free up my mind, clearing away the clutter to leave me feeling fresh and creative.

When bogged down in the middle of a story, searching for a new plot or just frozen by that first blank, white page, I reach for my paper and pencil. Starting with doodles, little characters or just funny faces, I tend to end up drawing castles hidden away in overgrown forests, vampires brooding in the night, under a full moon or little fairies searching through the darkened countryside to find some mischief to occupy their playful minds. (Can you guess what genre I like to write yet?) These wonderful pictures feed and inspire me. Unfortunately, I must confess, to anyone else they look like childish, badly drawn figures. It makes no difference though, as this highly enjoyable exercise has done its job, unlocking my imagination, giving me the bones of a plot or story, taking me in varied and exciting directions, showing me the start of a new, first draft.

Our creativity comes in many different guises; the writer, the artist, the sculptor, the musician, even the inventor all use the imagination. Tapping into these different variants can inspire each of us to be better, to enjoy our work more completely. I would encourage all writers and artists to dip into each other’s craft. For me there is a powerful connection between writing and drawing, strong links between the verbal and the visual. The artist shows us the beauty in their vision, when drawing they are not just showing the lines of that main image but also making us see the space behind. The writer tells us what is happening, describing the details, letting us see in our minds, in our imaginations not just the character but also the world in which they live.

Currently I have a couple of projects on the go, one of which is a children’s book aimed at five to ten year old boys. Wendy Hogg, a wonderful illustrator is collaborating with me on this. As she is traveling around Australia at the moment we keep in contact through e-mail and Skype. Recently, I sent her the first ten pages of my story to give her an idea of what she might draw. The pictures she sent back were beautiful and detailed, inspiring me to edit, re-write and inject more fun into the tale. Shortly after I sent my revised work, I received an updated image of her illustration which unbelievably was even better and more detailed. It has become a most creative process for us, her work inspires me, giving meat to the story and adding excitement. In turn the more I send Wendy the more complete her pictures become, in our minds we are lending each other a new muse.

So I will continue to use my pencil, not just for writing, but also for that most creative and fulfilling experience of drawing, and you never know with practice and study maybe even I can produce something beautiful.

For more writerly opinions, links, tips and generosity in general, follow Laura-ann on Twitter

30 Days of Drawing #28: Interview with Annching Wang

I’m honoured to introduce you to Annching Wang – fashion designer, aspiring photographer, entrepreneur and blogger – for the final interview in July’s 30 Days of Drawing project. I absolutely admire Annching’s work ethic; her eye for colour and tactility, as seen in her garments for self-founded company Parker & Muse and in her aesthetically delicious design blog; and her inspirational & mighty realistic dream-chasing

Annching Wang, Parker & Muse

Annching Wang

We spoke about her attitudes towards drawing and textiles, how she manages her hectic schedule, her views on contemporary art and luxury, and her new line-in-development – NUFAE – launching Spring 2011.

You’re a designer, blogger, artist. This might seem like an obvious question, but I reckon everyone’s answer would be a little different: how does drawing inform your work?

Drawing, for me, is the moment before “everything else” comes in to inform my work as a designer aside from raw inspiration. As a designer, the main thing we think about is whether our designs will be bought by the target consumer. Before all that comes in, I draw to test out ideas, see ideas start to form on paper. I think imagination is where it all starts, and drawing is the first realization of that. That’s why we all draw as kids. Drawing, to me, is also very relaxing – it’s when I really let loose before “design” starts.

How long have you been drawing? Can you describe one of your first drawing memories?

Since I was a kid, earliest memory, I don’t know, it’s all kind of a mish-mash. I do remember winning a contest when I was 8. I had no idea at the time that I had even entered something, but I got a letter afterwards congratulating me. It was a proud moment.

Do you think it’s possible for anyone to learn to draw, kinda like riding a bike, or do you have to have a knack for it? Or is it a bit of both, perhaps?

I definitely think its a bit of both. I think some people naturally have an eye for drawing like I did when I was a kid. I can say though that without constant practice, the person who has perseverance will reign over anyone else. Especially in drawing and art being as objective as it is, people I find respond far more to passion than they do to technical skill. I think passion adds exponentially to skill. Also, willingness to learn and risk-taking counts for something.

Annching Wang: Design Wall


What comes first for you, drawing or working with fabric? Do you tend to draw out designs before making them, or are the two processes interchangeable?

Definitely interchangeable. I go back and forth between the two constantly until the two meld perfectly with my vision. I think I usually start with really rough designs and a rough idea of fabrics. Then I usually go out and find fabrics. At this point is where I really get inspired with textiles, and that’s when I find most of my designs become realized. And then I keep going and going until it all fits together; it’s a very organic and free process. I can never really imagine how something is going to turn out until the fabrics.

Do you think art/fashion is a luxury or a necessity?

Both. To me, art is more of a luxury and that is why I got into design, because for me it is a way to translate artistic idea and inspiration into something that people can wear. And going deeper, I think there is still a divergence – Clothing is a necessity, fashion is a luxury. When I design, I try to aim for luxury that satisfies the necessary, more abstract needs that we have as humans; beauty, practicality, and story. But really, the ability to enjoy fashion is open to everyone, a necessity that anyone can turn into a luxury, and that’s what creativity and expression is all about. Luxury isn’t money; to me it is abstract value, whether it’s emotive or practical.

   	 Nufae x Ohkuol Photo Shoot

Annching Wang: Nufae x Ohkuol Photo Shoot 2010

Why do you think there has been such a resurgence of interest in traditional methods and techniques, such as drawing, painting and etching in recent contemporary art?

I liken this to what has happened in the fashion industry. We’ve become so commercialized and “fast” fashion really has made its name in the industry. There is only so far we can go before we can’t go any faster. So I think people, designers, are consciously trying to meet the unrealized needs of the populous, to bring back traditional methods in a modern way, whether in design, production, or both. (See: P.S. I Made This, and Etsy). Old is new again because we have become so used to fast fashion that perhaps designers feel a certain ennui – how do all the small designers who have something to say compete with the big players like Zara and H&M? They don’t. Instead, they find their own niches. No one can do it faster and cheaper, and consumers have gotten so used to this fast fashion economy. Value has to come from something else.

I’m not a fine artist, but I think overall the reason why there is a resurgence of interest in traditional methods is the same; it’s a way of fighting back against the big players who have monopolized the industry and commercialized it until one almost feels as if there is no more magic left in art or design.

This is something that affects my work as a designer. I’m always thinking, what can I do that no one else can do exactly the way I do it? What brings me joy so that I can translate this joy into clothing for others?

Are you interested in any contemporary studio artists that use drawing as a primary medium? Which artists , illustrators or designers (of any medium) are you currently watching?

I’m constantly being inspired by the work of other artists. I think I may be a little biased because of my work, but I am really interested in the resurgence of fashion illustration – there is something about it that fashion photography cannot emulate. I like commercial work because it is a dialogue between artist and consumer. Currently I’m a fan of Kelly Smith, Marian Bantjes, and Ken Lum. In the fashion industry, I am always in awe of what they do in couture, and I think especially as a designer it is important to be watching what’s going on in many creative industries, on different levels from mass to niche to high end to thrift.

Annching Wang: Latest photo shoot: image credit: Map Group (http://mapgroup.ca)

Latest photo shoot: image credit: Map Group (http://mapgroup.ca)


How do you time-manage working on your many projects? What, if anything, do you do to relax?

Calendars and to-do lists. I have a system that I think works for me. Aside from my work as a designer and blogger, I also have a full-time job in the wedding photography industry, so I really do have to manage my time well. Actually right now it’s wedding season, so I’m working 6 days a week, full days. I focus when I work, relax when it’s time to relax. I’m pretty good at compartmentalizing, but that’s probably why sometimes I act like an absent-minded professor! I love to read all sorts of things and watch movies. I’m not really discriminatory when it comes to what goes into my head, but I’m pretty strict about how I turn that into what I produce. But because fashion and business is my passion, I think almost everything I do either directly is productive or indirectly (or at least, I like to think so!) And I hate to say it, but I window-shop, a lot!

What drawing/art/design projects are you working on at the moment? Do you have any upcoming events we should know about or things we can buy?

I am currently in the design and sampling process for my debut collection, NUFAE, which will be available to buy online through a boutique launching February of next year. It’ll be the culmination of my vision of fashion, so watch for it. You can sign up for my mailing list at http://www.nufae.com. That’s pretty much all I’m working on in the wee hours of the night after I get off work.

Finally, I’d love it if you would care to set my readers, and I, a Parker and Muse style drawing challenge, to inspire us to keep going with our 30 Days of Drawing…

Picture your ultimate outfit. What would you wear if you could wear anything in the world – if money was no object, if there were no social rules. Draw yourself as a fashion illustration depicting this outfit.

Want more fashion? Follow Annching Wang on Twitter, or subscribe to her beautiful blog

30 Days of Drawing #27: le Corbusier on drawing

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Creative Commons License photo credit: Constantin Philippoff

I prefer drawing to talking.

Drawing is faster,

and leaves less room for lies

I’m not sure that I agree with le Corbusier’s view expressed in the quote above, however it certainly intrigues me, recalling as it does Agnes Martin’s statement, that

Pride and deceit are one and the same.

All of our deceit is due to pride.

In the passage from which these two sentences are derived, Martin advocates artistic isolation rather than the temptation to lie due to constant chatter and a need to impress people. I wonder if this will to silence and to the visual is a modernist thing? Or a mid-twentieth century thing? Or merely a temperamental disposition?

Any thoughts?

30 Days of Drawing #26: Interview with Gareth Southwell

Gareth Southwell is a freelance philosopher, illustrator and author. He started the brilliant thinkers’ resource Philosophy Online in 2000 as a means of supporting the students he was tutoring at the time and it has developed into an active philosophy forum and blog, with reviews, discussions and books for students and those generally interested in the subject…

Southwell is currently writing a series of introductory philosophy books for Blackwells: so far ‘beginners guides’ to Descartes and Nietzsche have been published. I spoke with him about his interest in drawing, the useful connections between text and illustration, and his diverse selection of projects.

Gareth Southwell

Gareth Southwell, self portrait

What got you interested in drawing? Is it something you’ve been doing since childhood?

You always hear artists talking about how they’ve always been drawing, you couldn’t keep a pencil or brush out of their hands, etc. I wasn’t like that: art for me wasn’t the expression of some innate and irrepressible urge to doodle or create. I found out early on that I enjoyed copying things, mostly comics and cartoons. I loved Asterix with an almost religious intensity, and would copy the characters there – Uderzo is such a brilliant cartoonist. Later I got into comics that my mum would bring me back from work – Spiderman was my fave, then Star Wars, and occasionally the Hulk. One formative experience was being ill with German Measles. You aren’t allowed to leave the house because of light sensitivity – or that’s what my mother reckoned! – so I stayed in for weeks, minded by my grandfather, and I just drew and drew. Actually, I copied Star Wars figures – the actual toys – I had loads of them…So, drawing must be therapeutic for me, I guess!

Do you think it’s possible for anyone to learn to draw, kinda like riding a bike, or do you have to have a knack for it? Or is it a bit of both, perhaps? (Or perhaps you agree with Molly Crabapple that riding a bike is nigh on impossible?)

When someone displays a talent, then the first reaction of other people is often to ask where it came from: your father, mother, uncle, grandad, etc. So, there is a common assumption that talent is innate – or genetic, as we would now say. I think there isn’t yet enough research to determine exactly what influence your genes have on cognitive and practical abilities (i.e. skills such as art), but I tend to doubt that there is an ‘artist’s gene’, or that genetic inheritance can determine a skill like that so precisely. So, I think it’s probably developmental: everyone is capable of it, but due to early life experiences, some develop it and some don’t so much. Early teaching experiences are important here – so many people have been put off by their experiences of art in school – but I think it begins earlier than that: just as some kids prefer reading a book to going to the beach, or making things to singing or dancing, so some kids prefer to draw. That preference, and the attitude they develop to what they do, are vital. I started by copying, and that got me praise which built my confidence. There’s probably also a knack involved here – drawing what you see as opposed to what you think you should see – but it is a knack that people can learn (or relearn). An excellent book here is “Drawing on the Right Side of the Brain”, by Betty Edwards, where she actually teaches ‘non-artists’ to draw. It’s amazing. So, yes, everyone can!

Gareth Southwell, Freud

Gareth Southwell, 'Freud'

Did you study art or illustration formally? Do you think it’s necessary to do that? How about philosophy? Is a university education essential in getting something out of / making a contribution to philosophy?

I studied art in school, and then took it as one of my A levels – for those outside the UK, that’s the non-compulsory schooling between 16 and 18 that prepares you for Uni. However, though I toyed with doing a degree in art – I almost applied to do the foundation course everyone does to prepare for art school – I ultimately decided to study English instead, which eventually turned into philosophy. So, most of what I’ve learnt in art has been through self-teaching – I had some interesting and supportive art teachers, but I never really learnt much in school – I think teachers are too busy trying to stop people climbing out the windows! But even at A level there was little formal teaching on – e.g. – perspective, using different media, painting techniques, etc. I guess there might have been had I gone on, but English was just much easier to be good at! I then came back to art in my 20s, and have been trying to improve ever since – still am.

However, I do feel that I’ve missed out on a lot of things that I could have learnt earlier, and it’s been a hard slog to catch up. But as to what it’s necessary to learn, it depends on the artist: there are different skill sets that different styles require – cartoonists don’t really need perspective, etc., so much, but they do need a really good grasp on conveying facial expression, for instance. As to where or how they learn these things, I don’t think it matters, but there are essential skills, I think.

As for philosophy, once again it depends what you want from it. Being involved in academic philosophy definitely requires formal training, because it’s a quite exclusive club, and they’re a bit snooty about enthusiastic amateurs! However, I would definitely say that philosophy in a more general sense is something that we can all do – and in fact, do do (‘do do’? That’s what studying English gets you!). We all philosophise occasionally, and perhaps people are doing so now more than ever, with more and more people working in communication and media, and doing work which doesn’t require backbreaking physical toil. So – this is the optimist speaking here – more free time and conscious choice regarding what we do with our lives, will result in more questioning. Some people are a bit scared by philosophy, or else they think it’s pointless – it’s, like, weird, you know? But think about it: we are hairless apes, the only creatures to have evolved rational conscious thought on the only planet for millions of light years that is capable of sustaining life, and which in a universe of mind-boggling vastness may even be unique. Given these facts, wouldn’t it be ‘weird’ for anyone not to think about such things?

You often combine text with your own images, for example in your excellent range of introductory philosophy books for Blackwells. What comes first in your working process, text or image? Do you have any thoughts on the hierarchies of text and image more generally?

Well, in terms of the Blackwell books, the images come last. This is just because their purpose is primarily to illustrate the points made in the text, and to lighten the tone of what are sometimes quite dry and difficult topics (I’ll write more on this in response to your next question). However, for other projects, it’s different. A lot of my stuff is caricature, so I get a fair amount of commissions from people simply wanting a picture of someone to accompany text. Often, you don’t know what the text will be, so you have to sort of hedge your bets as regards how you portray people. So, for instance, I might be asked to caricature Heidegger, and it might be tempting here to make a reference to his membership of the Nazi party, but that would be a risk (the text might make no reference to this – in which case it’s distracting). So, unless you see the text first, or can run a rough sketch past someone (which there’s not always time to do), then you have to play it safe.

Aside from this, I’m working on a private comic book project. I love comics, and I think there is real potential to use text and images in a distinct way. Comics convey something different, and you’re obviously not just illustrating or accompanying words with pretty pictures; you’re communicating in a different way. People will read comics who don’t really read books, which is great I think. However, I’m finding it really hard make progress – words and images are getting in the way of each other! I can write, and I can draw, but comics involve a third skill, which is sort of a visualisation of events – more like making a film, I suppose – and I’m currently struggling to develop that skill. However, I’d love to do more comics stuff. There’s some great stuff out there explaining philosophy in comic book form: Logicomix (http://www.logicomix.com/en/) is about the search for the philosophical foundations of mathematics, Epicurus the Sage (http://en.wikipedia.org/wiki/Epicurus_the_Sage) is a lighthearted history of the Greek philosopher Epicurus, and of course there are the series of Introducing… books, which are great. So, that is my next step, I think. Anyone wanting to collaborate, contact me!

Also on the philosophy books… What are the benefits of combining text and image in the way that you do? To engage a wider readership, to entertain, to aid memory and understanding?

For the Blackwell books, the point – as mentioned above – is mostly to break up the text and to help lighten the tone of the book. A lot of academic philosophers think that the purpose of writing philosophy books – even for beginners – is to show how clever you are! This is really what got me in to writing this type of book in the first place, because I realised that there were really quite few accessible books for beginners and students. So, the cartoons and caricatures are just a way of saying, “Hey! Lighten up!” Occasionally – and this is what I’d like to do more of with comics – I get to use images to convey things visually that would be more difficult, or less effective, to convey verbally. So, instead of saying, “Foundationalism is the view that looks for one truth on which to build all our knowledge”, you can just draw an upside-down pyramid! This is so effective, and also of course aids both memory and understanding, because images will stick where words won’t.

Do you think art is a luxury or a necessity?

We all need luxuries, but there may not be a logically sound reason for having them. Shakespeare puts this beautifully (this is one of my favourite quotes): “O, reason not the need! Our basest beggars are in the poorest thing superfluous”. In other words, once you start asking what we do and don’t really need, then you’ll find that there is perhaps no necessary reason for even the most basic things that we have. This is a reductive approach, and is one of the sad tendencies that philosophy and science sometimes seem prone to. As Nietzsche puts it (another favourite quote), there is always someone who “in the end always prefers a handful of ‘certainty’ to a whole cartload of beautiful possibilities”.

Give me beautiful uncertainty any day! Ultimately, then, it comes down to acknowledging that there aren’t reasons for everything, and reason has its limits.

Gareth Southwell, 'Bertrand Russell'

Gareth Southwell, 'Bertrand Russell'

I seem to be attracted to doing interviews with supremely creative multi-taskers. Recently I’ve spoken to Rosalind Davis (painter, gallery manager, writer, educator); Ms Crabapple (artist, illustrator, art school chain entrepreneur, model); Noah Becker (painter, writer, magazine founder/editor, working jazz musician) and Jeffrey Lewis (touring musician, illustrator, comic book maker).

I’d like to ask you the same questions I asked them: as a writer, editor, tutor, blogger and illustrator, how do you manage to juggle so many mind-stretching tasks? What motivates you? & what, if anything, do you do to relax?

Well, I very rarely feel like I’m ticking along, multitasking smoothly – it’s a lot messier than that! I tend to have bursts of enthusiasm and industry in certain areas, resulting in inactivity in others. It’s really hard to keep lots of things going at the same time. For instance, until about a month ago, I hadn’t drawn for 3 or 4 months because I had a book deadline. However, I’m drawing a lot at the moment, so the writing has taken a back seat. So, there’s always a big struggle between my different interests and duties, and there is sometimes a resistance to switching between art-based stuff and writing/study-based stuff. I now this is a cliché now, but verbal and visual do involve different parts of the brain, and I sometimes feel that I get stuck in one mode. However, as for general time management, it’s just fire-fighting: I do what interests me until I realise that there’s a deadline in the next few weeks, and then panic and work like crazy, and then back to pottering, dreaming and scheming! As for relaxing, I don’t watch much telly, but I do watch TV drama series – which I record or get on DVD (e.g Lost, House, Lie to Me). The best situation is when the family eat together and then we settle down to watch something we all like. I’m getting back into music – I used to play a lot, but now it’s mainly listening whilst drawing (it seems to stop me thinking and writing, though). Other than that, I like walking, which is happening a lot more since we’ve got the dog.

Who or what are your drawing inspirations?

Well, I mentioned Albert Uderzo, one of the creators of Asterix, who was my first introduction to how great and fun art can be. As regards illustrators, I love Alfred Tenniel’s illustrations of Lewis Carroll’s Alice books, whose style I’ve done my damndest to steal! I also like Aubrey Beardsley, who was a beautifully mannered draughtsman, I think. William Blake is an inspiration for his individuality and determination, for the way he combines text and image, and for his total obsessive desire to control all aspects of the creative process! Other than that, the other influences are comic book artists: James Jean is just sublime; Seth Fisher, who died very young, was a wonderful talent; and Arthur Adams is perhaps my hero – a love of painstaking detail combined with fun elements of cartoon and caricature.

Do you have any upcoming publications or works of art or anything else you’d like to publicise here?

Well, I’ve just finished a book for Quercus, which is a collection of 360 philosophy quotations covering the whole history of philosophy, each with a page of explanation. This is aimed at the general reader, so I’ve tried to make it light and fun, but informative at the same time. This is out in about Feb, I think. Other than that, I’m currently finishing up the third book for Blackwell, a guide to the theory of knowledge, which will also be out sometime next year. I’ve also just done a book proposal for a collaboration with someone on some popular philosophy books, and I’ve just started developing another idea with someone else for a book on critical thinking, which I’m hoping to tie in to my website (producing extra materials, etc.). Regarding my website, I’m still on there occasionally running and contributing to the forum (or ‘phorum’, as I’ve wittily entitled it), and there are plans to redevelop sections still, which I’m hoping to have time to do later this year. I’ve also foolishly decided to tweet the history of philosophy on Twitter, which – with some long pauses – is now up to Socrates! (You can follow this using the hashtag #ATHoP – A Twit’s History of Philosophy – and check PhilosophyOnline for previous entries.)

As regards art, I’ve just opened an Etsy shop to sell off some original work and I’m currently developing a range of merchandise to sell in my shop. This isn’t a big business venture, really, just a little hobby that gives me an excuse to draw. However, I’ve started running a competition for people to suggest quotes to accompany caricatures. I’ve just done Kafka and the current one is Shakespeare. To enter, you just need to suggest a quote, and the winner gets to choose and judge the next contest, as well as getting a free mug/t-shirt/print. This is just a fun thing, really, but I’d like to keep it going if there’s interest.

Other than that, I’m looking to develop my comic idea, and to work with others on something comicky, if anyone is interested?

Would you set my readers and I a Gareth Southwell-style drawing challenge?

Well, it would have to be to do a caricature of someone – yourself, someone you know, a celebrity, etc. There are different styles of caricature – some are very simple and cartoony, some are cruel and exaggerated, and some are closer to portraiture (perhaps mine are in this latter category), so don’t feel you have to fit a particular style. Just have fun!

30 Days of Drawing #25: ancient drawing

Great Gallery, found in Horseshoe Canyon, is an example of a Barrier Canyon Style pictograph

This portion of the Great Gallery, found in Horseshoe Canyon, is an example of a Barrier Canyon Style pictograph (painted rock art). The full panel is 200 feet long, 15 feet high and the paintings are life-sized human figures. The largest figure pictured is about 7 feet tall. Horseshoe Canyon, also known as Barrier Canyon, is a detached part of Canyonlands National Park in Utah, west of the Green River, and north of the National Park's Maze unit. (Photographer Scott Catron/Zaui).

30 Days of Drawing #24: Saturday Sketchbook

Last week was a bit of a no-show in terms of drawing… I was camping at a crazy festival for half of the week and the one time I felt awake enough to draw, the heavens opened (rain, not angels) and put a stop to my sketchbook-in-a-field plans. Perhaps I need to work on my hardiness!

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This week has gone rather better. I’ve enjoyed opening myself up a bit more (in fact, I think my photos from this week really demonstrate that, from tight and light, to bold and splashy!), and working after some artists that I adore, including Eva Hesse, June Leaf and Lee Bontecou.

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I also feel that, as I’ve loosened up, I’ve come to some interesting thoughts and ideas to begin/continue a real art practice once the 30 Days of Drawing is up. For example, I’m thinking about going back to embroidery for a while – one of my first loves in terms of making things, and something that has been explored sporadically in a fine/contemporary art context in terms of both formalism and feminism. I’m also planning a trip to the art supplies store in Philadelphia to get some bigger paper and maybe some ink and brushes too. Yes!

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How’s your drawing month going? What are your plans for the final week? Are you thinking about continuing your drawing, or other art practice, after July?