Updated on 23 March 2017 (Harvard referencing).
20 November 2016. I know that I probably should not say so, but this is an exercise with a low appeal to me. I am aware that the use of a grid helps with the faithful enlarging of an existing small-scale drawing or photograph, but the connecting of points on or between the lines of the grid make me lose all spontaneity.
22 November 2016. Today I found a photo, which I think is well suited for this exercise, and it has got both my smaller son and my husband in it, which makes it attractive in itself (Fig. 1).
And here a scan of a print of the same photo (hence the blue shift) with a 1 x 1 cm square grid added by me (Fig. 2):
Since the print size is 27 x 20 cm, I decided to make a painting twice that size, otherwise it would have become unreasonably large for the purpose.
23 November 2016. After a late-night session vesterday preparing the grid, I made the 54 x 40 cm pencil drawing today on watercolour paper (Fig. 3-4):
This sketch I covered in a carefully diluted and tested layer of light warm grey to allow the sketch to shine through (Fig. 5).
24 November. Today I added more layers, but I do not seem to be making a proper connection. The grid gets in the way, it also stops me from making reasonable decisions about the choice of colours – it feels like “colour by numbers” (Fig. 6):
Next I added some more detail and the two persons, after which my inner warning voice told me to stop (Fig. 7):
28 November 2016. I left this exercise for three days to decide what to do with it.
I think now that there is a good reason to leave it for now to return to it at the end of the course: On the one hand the grid feels like a cage to inspiration at this particular moment in time, on the other I can see in the painting a strong transfer of energy between my husband and my son, which I would not want to destroy now in an attempt to finish the exercise in time for submission of Assignment 4. Further progress report to follow.