Another stage played as a ramshackle take on a Sol LeWitt wall drawing: on a wood plank marked with squiggly etchings on the wall, course - goers had to lean over and trace the shape of the lines while maintaining close proximity and without letting
their pencils leave the surface for any reason.
Not exact matches
* Derwent studio
pencils * Colourless blending or burnishing
pencil * Navy blue Windsor Universal paper * Fine
pencil eraser with brush tip * White carbon trace down paper: this is so I can transfer my drawing to the paper
surface (you may also use a white
pencil to sketch with, but be aware of not pressing too hard and creating indentations in the paper
surface, or by
leaving eraser marks on the
surface if needing to correct your structure).
To complete the piece I'm going to blend the
surface of the hare using my white
pencil, and blend the
surface of the rocks using a cream and brown
pencil (you could use the colourless blender or even simply
leave the
surface unblended).
HELEN FRANKENTHALER Radius (H. 234) woodcut in colors, 1992 - 93, on White TGL handmade, signed and dated» 93» in
pencil, numbered 30/30 (there were also 8 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, one small area of
surface soiling in the upper
left sheet corner, hinged to the support in places at the reverse of the sheet edges, otherwise in very good condition, framed S. 28 x 28 in.
HELEN FRANKENTHALER Frankenthaler Blue Current (H. 134) aquatint, spitbite aquatint, soft - ground etching, lithograph and engraving in colors, 1987, on Rives BFK, signed and dated in
pencil, numbered 41/52 (there were also 14 artist's proofs), with the Tyler Graphics blindstamp, the full sheet, slight rippling, a faint
surface scuff in the bottom
left, otherwise in good condition, framed S. 30 x 37.5 / 8 in.