So, as ever, things have been so busy over the last week or so that I have ended up neglecting the online side of this diary. Therefore, an update.
Amid the chaos of the last week I have been slowly assembling an art materials pack for each of my participants (the number of which has now grown to eight) to use on our coastline walk this coming Saturday.
Putting the packs together has been pretty difficult. I know what I like to use when I draw, but I have been discovering what I like and don’t like over several years. It is a different matter to pick out art materials for somebody else however.
Even though, as Ioana Literat points out, drawing as a type of image elicitation operates unaffected by the kind of knowledge hierarchy that conditions much photoelicitation, drawing can still be an intimidating activity to undertake. This is true enough when working alone, but is exacerbated in front of a group of people. This feeling of intimidation can come from lots of sources, but in putting these packs together I have been thinking about the kind of intimidation that can come from the type of materials we use.
There is a difference in using something like a sheet of St. Cuthberts Mill Somerset paper and a sheet of newsprint for example. Each has its uses, and there is a time for both, but for me, certain materials make me feel certain ways and this influences what I do with them. As wonderful as it is to work with them, I believe that high quality materials can invite hesitation or doubt. Say somebody knows that the single sheet of Arches Velin paper they are working on costs around eight or nine pounds per sheet. What I keep coming back to is this – how does this knowledge not influence how they draw? Are we not always encouraged to think, wrongly in my opinion, that if it is expensive then it is to be valued, and valued things are treated with a special kind of reverence. Maybe experience leads to becoming comfortable with this situation. If I ever can afford eight pounds for a sheet of paper I’ll let you know. But my point is, I need to find materials that allow my participants to explore freely, but do not inhibit or intimidate them. After all, this project isn’t about judging what is a good or a bad drawing, so to possibly create a situation where it is being questioned whether what is being drawn is good enough for the materials I have provided will work against everything I am trying to achieve.
Having said that, among my participants there are those who I would consider to be experienced artists, alongside those who do not have much experience of drawing. This is exactly how I wanted it, but it makes it a little difficult to meet the needs of everybody. Those that are familiar with the usual apparatus of drawing, may have certain expectations of their materials, so to provide them with equipment which they might consider to be ‘amateurish’ may also unduly influence what they produce.
So, when putting these packs together I felt that I needed to strike the right balance between familiar, non-threatening materials and materials that aren’t unpleasant or frustrating to use.
I won’t know if I have done just that until we are under way, but I have done my best to reach a decent compromise.
So, each pack contains:
- An A3 sketchpad – I guess this could be described as ‘student quality’, the kind of pad that you would find in any art or stationery shop. It isn’t amazing quality but it looks decent enough to cope with a bit of heavy scribbling and rubbing out.
- A disposable camera – It’s been a while since I have bought and used one of these (V Festival 1997 I think…) and it was a bit difficult finding somewhere that sold them cheap enough that buying eight and getting the photos developed wouldn’t cost more than a digital compact camera! I finally located them at Jessops and got eight, on a deal of buy two get one free, including processing for around £17.00 which I was pretty happy with. The camera is included as an optional extra for participants to use on the walk. It will be interesting to see how much this is relied upon to record observations.
- A tin of sketching pencils – Nice, familiar pencils, but in a rage of different hardnesses.
- A selection of colouring pencils – Just to add a further option to working in grey scale.
- A black pen
- A stick of willow charcoal
- Two sticks of compressed charcoal – One black, one brown
- A soft/medium charcoal pencil
- A paper blending stump – Ideal for blending or blurring the charcoal.
- A pencil sharpener
- A rubber
- A Zip-Lock bag – to be used to collect any interesting items (so long as they are allowed to be removed from the beach).
I am sure there are many things I could have included but haven’t, but considering the issues I highlighted above I think I have provided a wide enough selection of items to use without the choice being overwhelming. The quality of the items is also something I am pretty pleased with. I think I have worked hard to source items that I can afford, of a quality which doesn’t exude either cheapness or expense. That might raise a few eyebrows but for this project, for the reasons given above, I am happy with ‘average’!
All that remains now is to hand the packs out on Saturday after the morning’s group interview, hope for reasonable weather, and head out into the elements to do some watching, walking and drawing. I have to say, after all this planning, I am looking forward to getting back on the beach, looking, learning, experiencing.