St Agnes High School - Palm Yearbook (Rochester, NY)

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ing from person to person, the methods have a wide range. Some people listen to music, waiting for sugges- tions from within, while others wait for a certain mood where prompting is not needed. Then again, walking around inside or outside seems to inspire others who search for the right object to draw. Everyone when attempting to sketch has a certain fa- vorite type in the main categories that she for heb prefers to draw. The variety consists of maybe landscapes, still life, people, and small objects found about the house fshoes, purse, pottery . . J. This selection offers to the artist many different and unique sketches. After much contemplation for a recent project, I decided to sketch an old black glove, from the main type, small household ob- jects. This glove has quite a visible personality, which I will attempt to capture in my sketch. The old black glove has been worn by my grandmother for twenty years, because she believes it to be so comfortable. The leather of the glove is heavy and worn, with many fine creases and wrinkles present on its surface. It has a large thumb and very short fingers. The reason for this, my grandmother explained to me, was that it had for years shoveled snow, become damp and wet while doing this work, and then it was immediately placed in a very warm area, upon which action the fingers shrank. All this detail and personality I must show through my sketch. The materials and equipment I use are essential in the creation of my sketch. To be involved with my work, I must use equipment that I feel produces the results I most admire. Out of the possible media of paints, ink, pencils, watercolors, charcoals and pastels, this time I will choose pencils, for I have the most control over them. My first tries at the proportion are meaningless, and they will have to be scratched out anyway. All the time taken with these first mistakes, though, has given me experience, for I have observed the object and its shape more closely. The first basic outline of the sketch is shaky and unreliable, and eventually hidden by the final sketch. After this quick sketch, I then start at a point that seems relatively in proportion and fill in lightly the spaces of shading and texture, since the leather does have shadows and a leathery-wrinkled appearance. I begin this process on the thumb of the glove. My first attempts at achieving the texture are worked on, improved or changed, in this first small area. Finally, I know how to achieve the effect of the leather texture and can move on and carry it through the entire sketch. Darkening here, erasing or lightening there, placing lines of shadows, are all included in the process of drawing. Gradually, I begin to know my subject by heart thus making it possible to keep my eyes more on the picture than on the subjectj While watching my glove appear before me on the paper, I experience happiness and ex- citement. These two feelings come to me only at the moment that I can look down and see the good resem- blance of the glove and can almost feel the texture I have placed on it. Excitement arises in me with hopes that I will produce a really fine sketch. Happiness awakes in that I am expressing myself in something I love doing. All the while, I am still continuing to draw, my feelings and personality are being incorporated in my picture. I take time to put every detail I can into the picture in order to produce something in my own style. Unlike me, some artists are quick to produce something rapidly and show their personalities through the action in the picture, rather than through stillness. Through the experience of Sr. Janet Connorton, my art teacher, we see how this is achieved. In answer to my question, In sketches you've seen, have any personalities shown through? she answered, Yes. Some people are meticu- lous and patient. Their drawings are detailed and careful in proportion. Subject matter is usually something that sits still a long time. She continues, Some are quick in ideas and production. Then sketches have a lively quali- ty, even if out of proportion. Some find it a pain to work and the results are painful. When personalities begin to peep out of the sketches, the styles of drawings are be- coming individual and unique. The whole process of drawing has lasted four hours, which seem to be an average amount of time for most good sketches. Now, though, I can relax, viewing the sketch from a distance as a whole. At this moment, my feelings for the entire sketch have increased and I am quite excited and proud. I have accomplished drawing exactly what I saw. This feeling will not wear off until I have achieved a better drawing than this in the future. Joyce Lighthouse '73

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Wwfgj 6f??Qiif3f3i, We MWAKW MMQ 5 W sei if fffflf THE PROCESS OF A SKETCH The whole concept of sketching to some people is a process very easy and uncomplicated, and therefore, quite boring, not requiring much time or energy. To those of us who have seriously attempted this form of art, the work becomes exhilarating, exciting, unexhausting and very creative. This absorbing feeling is present not only after I have completed a sketch, but also throughout the whole process. Some stimulus is needed for a person to become really creative and inspired. This starter is achieved mainly through the right object, which will naturally give it- self as a challenge when I first view it or think of it. While I sit and contemplate, a thought or inspiration will rise in my mind, unfolding to me a small picture with a subject in it. Any method of discovering a right object is a very personal and individual practice of the artist. Vary-

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N T. te . or I I S3955 0 x -X X' ,fi Q s , I ' sy 1 Qi geLX f' 5' x ' ' -gl! N-J ' I . r rg M A N I ,gg ... Us , N E N N 5 W' 44 5,-14 Q--1 ANOTHER PANDORA'S BOX Characters: Tom - suave, young liberal, New England breed Amy - wealthy, concerned student type Setting: typical college dormitory lobby, Old-Ivy style, updated with posters proclaiming upcoming semi- nars, campus concerts, and other such events Tom: I love you. Amy: That's ecologically obscene. Tom: Cpuzzledj Why? Amy: Qmatter-a-factlyl Because we might end up having more than two children. Tom: I think you have beautiful eyes and are completely out of your mind. Amy: I do too. Tom: What, you admit to mental illness? Amy: No. fpausej I love you too. Tom: I guess we had better start worrying about the population explosion then. Amy: Tom, there's something I've got to talk to you about. Something a bit . . . unusual. Now don't get upset with me, but . . . I'm leaving school. Tom: Amy, you only have two more years to go. What the devil do you have up your sleeve? Cupsetb Oh, no, Amy, youire kidding! Amy: Now, Tom, settle down. It's nothing big. I'm just going to Alaska to climb Mount McKinley. It's going to be great - I'm leaving in six weeks for three months of mountain training in Juneau and then we're off. Doesn't it sound great? Tom: Now let me get this straight. You're leaving Smith in the middle of your junior year to climb a moun- tain thousands of miles from your home. You're leav- ing your pet cat, your friends, me, and your parents just to climb Mount McKinley. Amy: Tom, I'll be working with an accredited mountain guide, and I may even get independent study credit for sociology for the whole deal. Tom: Why do you want to do this to me? Amy: I'm not doing anything to you. Except leaving you and gaining my own sense of freedom and growth as an individual. Tom: Do you know what you're getting into, Amy? Do you know anything about mountain climbing? Mc- Kinley is the tallest mountain in the Western Hemi- sphere. Why can't you satisfy your pioneer urges by taking to the White Mountains for a week? By the way, I know a guy at the University of Vermont. You could stay with him. Amy: It's nothing like that, Tom. This is going to be a real survival experience. Tom: I hope you survive. Amy: And yes, I do know something about mountains. McKinley is 20,270 feet and . . . Tom: You'll freeze. Amy: No chance, really. The equipment and clothing nowadays is of the Space Age. Everything is thermal. Frostbite is old-fashioned. Tom: I will make it my duty to inform you that the winds and snow of 1973 are as wicked as the winds and snow of 1897. You're being ridiculous and you're staying here. Amy: Oh no I'm not. I have already sent my money in and the dean has OK'd everything, and I'm leaving in six weeks. Tom: Cdiscouragedj Six weeks! Amy: Tom, don't look at me that way. Actually, you're the one who gave me this whole idea through that mountain climbing pamphlet by Hillary which you included in the box of donated books you gave to the Women's Liberation Garage Sale. Tom: Cdefeatedl Oh no. Blackout. Barbara Dell Hall '74