These images are important and cast a long shadow, but what does he bring to them by translating them on a large scale with pencil and graphite powder? It seems to me that the final reproduced image is less important than the respect that he has given it through extended labour. I have seen work by Eric Manigaud in which he reproduces photographs of Jewish victims of Nazi mental asylums. Most hyper-realistic drawings which I have seen in the flesh, have been very large so that imperfections of drawing are smoothed through scale.īetterzip 4 0 3. The drawings are not photo-realistic they are of a small intimate size. He shows examples of the drawings and talks about them here. These delicate drawings done with 2H pencil look like old photographs and are either from imagination or based on friends. In the context of this project, his painstaking drawings of the characters come to mind. Blake has had a life long fascination with the poem and has created, over many years, illustrations using collage, painting and drawing. I feel that, for this approach to be valid, the drawing has to say more than a photograph would, and given that many hyper-realistic drawings use a photograph as a reference, it is not always obvious what that might be.Ī couple of years ago, I was lucky to see Peter Blake's illustrations to Dylan Thomas's ‘Under Milk Wood'. Alternatively, it may be a mere demonstration of technical skill. Why you would want to made a drawing look like a photograph? One reason might be that you are drawing something which could not be photographed, say a fantastical beast. The ultimate example of this is hyper-realism. The first requires minute observational skills and the draughtsmanship to convert he observation in to a detailed representational drawing. The subject should have ‘a sub stantial number of detail ed parts'.Īttention to detail and accumulation of detail are two different approaches to this project. The objective of this project is to produce a drawing which requires focused effort and attention to detail.
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