I appreciate the colored papers after having made this largish drawing en plein air on white paper. There’s so much white to cover up, and so much green out there to look at, so much light and shade contrasting, and such swiftly changing patterns of light and dark. It took a while to settle into my drawing. I began as though I had five hundred years of leisure, meticulously observing every hair’s nuance of line and color in dainty little lines that were swallowed up by the large page. And seeing that my drawing didn’t remind me very much of the what I was looking at, and watching the shadows move, I decided I had better step it up!
So I let go of some residual timidity and started drawing faster and more evocatively. I have to say, though, there’s reason for doing the 500-year drawing method. If you can let go of the idea that the drawing needs to look like the subject, and instead let the drawing become a record of your feelings merely, the experience and possibly even the drawing that it leads to is worth doing.