I have always made a clear dinstinction between drawing and sketching. "Linear Edge" drawing, similar to the contour drawing learned in art school, is more sustained and deliberate, demanding absolute control. These drawings had an end in themselves, simple as they were.
A sketch, on the other hand, was a study, leading to an idea for a painting. There may be several sketches for any given finished work in oils. No sketch, unlike Linear Edge Drawings, was intended to stand alone.
This new web site follows several years of not painting. I was in a slump, sort of "writer's block" for about three years, when little was accomplished. Then the mood changed and I began drawing again, at first using my highly realistic female mannequin as subject, in various changes of clothing. At first I simply drew, doing drawings for their own sake. Then I decided instead of drawing, I would sketch, looser drawings, more detailed, indicating tone, cross lighting, drapery folds and dark areas, as lead-ins toward painting ideas. Rarely had I "sketched" throughout my career. Drawings generally sufficed as the basis for paintings. Sketching was far less controlled in the discipline of seeing compared to pure line drawing (intense observation that I call Linear Edge).
After a month or more of sketching using the mannequin, I realized I'd like to be doing this with a live model as I have always done. That's when I found Eve raking leaves on her street, and convinced her to model for me. Having been enamoured by studies of the Early Renaissance as a means of seeking out new ideas. I began adding more drapery and pattern to the sketches which were to lead to the series of paintings of which this new period consisted.
I did not want to revert to my old ways, painting in my "comfort zone". I wanted new excitement and inspiration. I was seeking a different interpretation of the model and pushing the elements of "formalism". I worked with Eve for 20 sessions and made numerous paintings.
I was still not satisfied with what I was achieving. It was still lacking something: too heavily weighed on the subject matter side and not enough on the formal. Somehow I had to force myself to increase the flatness of surface, less emphasis on drapery folds, tonal ranges, detail, and accuracy that a life time of Linear Edge had instilled in my vision and temperament.
I was fighting with myself and my old ways. I had to let go of my love for detail if I were to break through.
It is still an ongoing process as art should be.
This site contains the results since that slump.
DRAWING vs SKETCHING