In 2010, I commit myself to the fine art of drawing a Grizzly Bear. Ursula Horribilis is, in this case, an 850 pound female grizzly. My favorite approach to drawing wildlife is to wander into the woods, find a likely subject and ask, politely, for permission to draw. When permission is granted, I snap a few photos for reference and doodle in my sketch book for a while.
In most cases this works pretty well. In this particular case I told the bear that my mother was called Claire Marie Ursula “Little Bear” Sullivan. The result was the treat of watching from a respectful distance while Griz daintily devoured a several hundred pound elk. After her meal she cleaned up and carefully cached the remains of her meal for a future snack. I took about 120 reference photos as late afternoon was transformed into night. That's how this drawing began during a 2009 summer sunset in the ever lovely Grand Tetons National Park.
Back in my studio, I sorted through my images and printed several likely candidates. I taped these photos to the wall and for about three months contemplated my favorites until I finally settled on the most likely candidate. Now begins the transformation from the click of a shutter, a mere 1/120th of a second one evening back in August, to the drawing my subconscious has been working on for the past few months.
The bear is beautiful, natural, graceful, dynamic, and powerful. My first composition dilemna is about her position in the drawing. I have placed her left of center. As you hike through the willow bunches on the plain that fronts the Tetons, you sense a hint of surprise. You first see the willows and then the bear. Oh, a BEAR! She is everything a wilderness bear should be - wild and shy, powerful and dominant. She stands in front of the willows where she could disappear in a heartbeat.
My second compositional element concerns the environment. These willows are tall, probably 12 to 15 feet in height. Wind bends their slender stalks toward the bear. Waves of wind push branches forming patterns of light and dark against a growing night. The bear’s fur is backlit forming a contrast against darkening willows. She sniffs the wind and her lip curls. The fence in front of her has been knocked down. The rails lie parallel to her position. She could easily step over them. If she does, well…
My first hour of sketching is concentrated on creating the composition. The bear is the focal point. The patterns of the willows are the most challenging element of the composition. They must suggest movement without being distracting. They must hold the bear just as a home holds a family.
The drama of this drawing will be conveyed in the extremes of light and dark. Here we are at the beginning.
Wednesday, January 6, 2010.
Stand by for upcoming blogs and photos of this work in process as I continue "The Griz Drawing Chronicles" and let me know what you think of my work in progress.
