Copying Li Xue Ming (Part II)

Gaa Wai Copy of Li Xue Ming b 082419

This is Part II of Copying Li Xue Ming. In the video, I’ve chosen a portion of a painting by the artist to sketch. It’s the same painting as the one in Part I, but I focus on the cave, as opposed to the figure inside. I begin by commenting on the work as a whole and then talk through (often rambling, sorry) what I’m thinking while responding to the work with a brush.

It’s fairly long (30:06), and I start sketching (after a trial run) at 6:25 or so.

 

 

Copying Li Xue Ming (Part I)

Li Xue MingI recently moved, and out of the 437 that I own, this is one of the few books I could bring with me. I bought it at a brick and mortar store in China Town in San Francisco a few years ago.

I was having fun exploring the area, so discovering the artist, Li Xue Ming, may seem a little random.

I’ve been saving it for a rainy day, so to speak (IE, just one of those days when you want to discover something that sparks joy in your life), and hitting two birds (or if you want two bottles or two inanimate objects) with one stone, it also gave me a chance to think about how to develop my own style of line by looking at somebody else’s.

This video is of me preparing and using Chinese ink the old-fashioned way while sketching a figure inside one of his paintings.

I’m also preparing Part II, where I give a response to the work and sketch what surrounds the figure.

Gaa Wai Copy of Li Xue Ming 082419

Graphics of the German Expressionists

Sabarsky, Graphics of the German Expressionists

I’m looking to German Expressionism for how both the line and colors can fill up space, as opposed to only the “flow” of the line.

I happened to have the book, Graphics of the German Expressionists (1984), by Serge Sabarsky, on my book shelf. (I found this gem in a used book store.) The historical context (1910’s – 1930’s) from which this kind of work arose helps me to understand the intent and approach of the artists.

Sabarsky explains…

The confusion and disorientation of modern man at the turn of the century created a need for immediate and tangible meanings… This opened the way to the rediscovery of graphic techniques. In… their woodcuts, the German artists, especially the members of the Brücke, developed a style that used crudely simplified… forms…

… The printing of manifestos especially was almost exclusively done with carved woodblocks. These… were characterized by an immediacy that makes them… as modern today as they were six or seven decades ago. (pp 9-10)

Looking at the the works in 2019, I think “immediacy” refers to how pieces were intentionally made flat and simple in order to be emotionally accessible.

Much of the work is in black and white, and much of the potency I think is in the contrast between the two colors. Many of the works use large blocks of colors and thick bold lines — which could be referred to as forms or shapes, as opposed to lines that flow with their own “intent” to move in a certain direction.

The figures seem to stand their ground. Wood blocks, in particular, can be described as emblematic — something abstract but something you can recognize right away, and despite it being so simple, it is very emotional and evocative.

Some artsits used hashing, but I only focus on how broad strokes, IE those of a brush, fill up space and the interactions between positive and negative space.

Following two short essays that give some historical context, there are nine sections that each give a brief introduction to an individual artist before showcasing examples of their work.

Max Beckmann Otto Dix Lyonel Feininger Erick Heckel Ernst Ludwig Kirchner Otto Mueller Emil Nolde Max Hermann Pechstein Karl Schmidt-Rottluff

Getting Unblocked

Gaa Wai 062019 Tree 4

So I’ve been a little blocked… is an understatement. (That and “life” has been keeping me busy.) But no excuses.

I’ve been watching many (many) studio vlogs on YouTube, trying to find my way back, and the variety of work helped me put some things into perspective.

I’m thinking of furrylittlepeach and Christie’s interview with Wayne Thiebauld, as well as Ping Zhu and Leigh Ellexson,

If given the task of drawing any inanimate object, each artist could make it look unique from the other artists… But what is unique? To say this is a matter of style seems to oversimplify what they do, as does ‘following an attitude.’ (Even though that may very well be what guides them.)

I think while developing one’s “style” to what it is today, each artist had to answer many smaller questions, which bridged the gap between “attitude” and form.

Looking at my own work, I noticed that I’m very drawn to a particular color scheme: background colors made from red tea and blue-grey’s (more grey than blue) and red-orange lines. While browsing Artsy (I searched Chinese ink, as that was the medium I’m already drawn to) I found myself adding one Chinese artist after another, as their color schemes seemed to be answers to questions for how to develop my own color scheme.

Overall, I want to say it’s “smoky” or airy. Maybe ethereal… which sounds… like I don’t have a clear understanding of what they’re doing. I do know that I like it though, and knowing this, as opposed to following a trend or simply being intrigued and curious, is crucial in being able to answer the smaller questions, as those aren’t apparent in finished work. I have to have an idea, even if it’s only intuitive, to focus on, to have somewhere to go (as opposed to being where everyone already is).

OTOH, seeing a variety of others’ work and looking back at my own work, I feel like treating this — not wanting to be guided entirely by any aspect of others’ work — as a rule was something that was blocking me.

While I ended up veering away from the styles I copied, I can not say it was my copying the drawings which led me to go in another direction; and while I did reflect on the experience of making a copy, I didn’t go further and think of how it could apply to work of my own.

So thinking of my own work… the questions of line, color and form remain. These will only really be answered with each specific work, but I think I’m getting closer to a combination of broadly defined aspects which can guide me… intuitively…

Line: For the brush, I think I should change my approach from using the brush to guide me to being weary of what objects will lend themselves more to lines made by a brush (thicker and greater variety in quality of line from thick to thin, etc).

More on this…

Color: I think I can benefit from more exposure to others’ work. I like what I’ve seen on Artsy. (Wang Quian, Lin Yang Qiang, Zhang Yanzi, Yiming Chai, Arnold Chang, and Xu Ming) I’d like to emphasize that I was already trying similar colors for my own work before looking at other artists.

Form: I’ve been focusing so much on my line, I’ve actually focused on forms surprisingly little or close to not at all. When looking at others’ work, I’m drawn to stories in Surrealism and/or collage. I’m thinking of Shahzia Sikander, who does this and follows a color scheme similar to the one I’m trying to develop for myself.

… I may be over-thinking this. But being blocked is a matter of psychology and I think it’s worth it to think things out, even if it seems obvious (especially after writing it down) because it helps to get the brain going through the motions.

So much of art is a matter of psychology.