Artist notes:

1975 Sketchbook, no cover (missing), 11"x 14"

The year 1975 was a year of limbo for me, somewhat.  I had finished undergraduate school in 1972.  I applied and was conditionally accepted to the University of Georgia for graduate work in art history in 1974.  Tucker let me teach a course in American Art history at UNCA.  Also, in order to expand my language studies, I took two courses from Frau Gullickson at UNC-Asheville.  I aided my income by working with Joseph Redmond in his landscaping business from time to time.  I did not have a studio.  An observation that should be made is that when I did not have a studio in which to do my formal work, the sketch book and would make an entry.  I did not want the idea or the image to escape me.

In 1974, through mutual agreement, Phil and I separated and divorced.  Thus came the ending of the "Phillip Error" and the begining of the "Joseph Error."

Drawings of note:

Page 1: This I hoped would someday be a painting.  At this point in time, I had not yet formally left Asheville; Tucker and his work are still very present in my life.  So was the influence of his style.  The voluminous forms were especially an easy form for me to enjoy.  I thought much about this and concluded that I had been born and raised in the mountains of North Carolina.  The mountains, themselves, were reflected in these forms.  They were comfortable, "knowable" shaped for me.  Once I put them down in the preliminary drawing, I felt good about the page and my imagination was spurred to continue.

Page 2: Although Tucker did not use this particular composition, it still has his influence.  The large, floating form was inspired by both Magritte and Stanley Kuberick's "Two Thousand and One Space Odyssey."  It contains a natural power of weight suspended by mysterious force.  Further evidence of Tucker's ongoing influence on my drawing can be seen in vertical tonal shading.  How much stronger would the form have been I "hatched" it out in a more sculptural manner?

Page 3 and 4:  A Laundromat is a great place to find cooperative subject matter when it came to the human form; women waiting for their wash to finish; having a cigarette.

Page 6:  One of the few drawings I ever got to do of my brother, Grover; and it's only of his left hand.  He wears a ring on his forefinger and a bandage on his fourth finger, needed, most likely, after he had come back from rock climbing, one of his favorite things to do.  Grover was never one to hold still for very long; this quick sketch (in single direction shading) was probably made when he was taking a nap.

Page 15, 16, 22:  My mother had given me a potted amaryllis bulb, meant to bloom at Christmas.  These are sketches of it in phases of sprouting.  The house I shared with Joseph at One Midway Drive in Asheville, was heated only by a small fireplace.  I put the planted bulb on the mantel.  It took it a very long time to come to "Fruition," on might say, because the place was so cold.  However, once it reached its full height and opened with two beautiful red flowers, it was so top heavy it fell over.  The top half broke off the stem.  I salvaged it by placing it in a white bud vase.  However, it didn't last very long and the other blooms on the stalk never "happened."

Pages 24-28:  One evening, friends in the art department scheduled a life drawing session.  The model did not show up.  So, we posed for each other.  I'm so glad the model didn't show because I was able to make these quick sketches of good friends: Ron, Linda, Catherine, and Martha.

Pages 29-33:  On drawing session that I was fortunate to sit in on was the drawing of Randall Jr.  He was about 11 or 12 years old.  The purpose of having a half nude boy was just that: to capture the physical definition of  a boy.  All of our models were adult and the opportunity to draw a child was rare.  My drawing technique here, and in many of the other sketchbooks of the time was to do a sensitive, light gradual line for the contour of the figure, with a dark tonal "touch" at where I felt was a kind of reference point to the correctness of the proportions of the figure.  Later the shading was added, single direction, as per Tucker's influence, to tray to attempt some contrast and volume.  I never had enough time with any model to bring about what I thought was a finished drawing.  Page 33 is a quick study of Randall's father, Randall, Sr.  He was an observer to our work and seeming very proud of his son.

Pages 36 - 42: These are drawings of one single model we had for class. At the top of page 36, one can see, barely, the contour drawing by means of a gradual tonal line that often disappears and then reappears. It's rather like a point-to-point technique. As far as I know, I developed this technique by my own practice. What would happen to this "light" drawing is shown in the lower right corner. I would shade in values with the vertical shading that would capture the volume of the figure. How little did I know how drastically my drawing style would change within a year's time.

When I drew from the nude model, I felt that the individuality of the person was important. Thus, often, I would spend time on bringing out specific features of the face. This was often a drawback because I did not allow myself enough time for the completion of the entire figure. But, truthfully, in drawing sessions at this time, when poses only lasted fifteen to twenty minutes, it was difficult to bring out as much as I wanted to in the drawing overall.

Pages 44 - 47: Catherine, a good friend, took the model stand one evening for some very quick sketches. She was quite lovely. Here the line quality changes to something more of a direct gestural work. The poses were only five to ten minutes apiece.

Page 53: Catherine, Denise and Larry and I made a long weekend trip to Washington, D. C. On the way, I did this drawing of Catherine. I make note of this drawing because of the heavy gestural marks I use as contrast to the figure. These marks haven't really happened before this time or in this manner in my sketch books; they will make their appearance and become very much a part of my style of drawing after graduate study with Mr. Dodd, in the coming fall.

Dianne Cable, July 18, 2011